Depliant 2022-2023 (anglès) by GranTeatreLiceu

Season 2022—2023

Drawing by Jaume Plensa

2 | SEASON 2022—2023

The Leap INTO THE VOID At a crossroads, where two paths separate, we have to take a decision. Whether or not we have time for thought, the outcome and consequences will always be uncertain. Like Hercules faced with the choice between pleasure and virtue, we need a drop of courage to take a step which will change the whole state of affairs. It forces us to take a stance. Only time will show whether the choice was the right one. We certainly won’t let anyone warn us of the fatal outcomes that lie in store but we’ll accept the fact that advancing along the path in itself implies personal growth. This season members of the audience will no longer be mere spectators but will play a leading part in the artistic processes. Thus the function of the opera house will no longer be to prescribe but to link experiences together and act as a cultural mediator for society. And it is precisely this change in relationships that will generate a new intensity, a veritable leap into the void. Nothing will ever be the same again. So how about taking the path together?

4 | SEASON 2022—2023

T H E

P L E N S A

ALPHABET Any grammar contains the rules and principles which govern the use of a language and in order to approach the towering figure of Jaume Plensa, it is vital to organize his creative universe and expressive idiom. Thus the function of this glossary is to provide a filter which will enable us to transcribe his mental world. At the same time, however, it is an invitation to eliminate conceptual obstacles and immerse ourselves in the mysteries of his polysemic output. It is an introduction to his universe, expressed in his own words. Jaume Plensa is a humanist, a member of our present-day Renaissance: visual poet, creator of dreams, discoverer and explorer of forms, and free-spirited philosopher. Plensa expresses himself in an outstanding set of works which, by targeting the viewer’s emotions, reach beyond the occupation of physical space to conquer a place in the mind as well. Plensa questions the canons and the value of the concept “classical” in successive generations. By engaging in dialogue with tradition and references, he makes a poetical contribution in which his works speak to the world like images at rest, dreaming from the perspective of simplicity and beauty. Thus the Liceu continues along the path of collaboration with visual artists which seeks to recover the impulse of artistic genres in Florence in the year 1600, when the arts came together and disciplines mingled. Thank you, Jaume, for helping us, in your creations, to reflect about life and to exist. Yours is a much needed ethical stance in a world where profound messages are scarce and it helps to create a better society: writing transformed into sculpture, a grammar of the emotions. Drawing by Jaume Plensa

THE PLENSA ALPHABET | 5

T H E

P L E N S A

ALPHABET ALPHABET «I’ve always worked from my own origins: Latin letters. But I wanted to take in more things, so I added new alphabets and ideograms: Hebrew, Arabic, Chinese, Japanese, Greek, Cyrillic, Korean, Hindi and Latin. The letters, with their different shapes, are uniquely beautiful and a very interesting metaphor of diversity. An alphabet is a good expression of the personality of each culture. It’s a summary of that culture and its most accurate portrait.» Interview with Leonie Schilling, Arte al límite, No. 42, 2010

ART «Art is of no use, that is why it is so important. Its uselessness, its lack of a practical function, make it indispensable to the lives of human beings.» Speech on being awarded an honoris causa doctorate, Universitat Autònoma de Barcelona, 6 November 2018.

«One of the beauties of art is that it’s inexplicable. (...) Art should not be understood. It should move us.» Interview with Fernando García, Magazine, La Vanguardia, 7 April 2019.

ARTIST «Artists pursue the same aim as in the 12th century: that of searching for major questions. Who am I? Where am I going? Why, how, and when? The

6 | SEASON 2022—2023

problem today is that we confuse communication with the message, speed with other things, and value with price. There’s a lot of confusion. I suppose every age has had its own. One of the artist’s missions is to try to transcend the taste of his own period.» Interview with Fernando García, Magazine, La Vanguardia, 7 April 2019.

B EAUTY «It spans both ethics and truth. Everybody recognizes it, but nobody can explain it, and that fascinates me.» Interview with Ima Sanchís, «La Contra», La Vanguardia, 28 December 2018.

«Beauty is the link to everything and to the entire world, it’s the great place where everyone’s memory can be found. Something we wear pinned to the backs of our necks, an emotion!» Interview with Ángela Molina, Babelia, El País, 16 August 2014.

BOOKS «My passion for books was something natural and spontaneous. My father was a great reader, I grew up surrounded by books and the visual culture of letters. I’ve tried to adapt that culture, to merge it into my output as just another material. From Shakespeare (his sonnets and above all Macbeth) to Elias Canetti (a poet of the word), from the Song of Songs (when

I decided to re-read it at the age of 40, I couldn’t believe how much poetry it contains) to Stefan Zweig (his poetical form is fundamental).» Interview with Vanessa Graell, El Mundo, 22 April 2015.

BRAIN «The head is the place where it all happens, the palace of knowledge, but also the wildest place in our bodies, and it’s the place you can always go to, and return to. It’s like a blank canvas where you can paint all your emotions: desire, sleep, it’s all there, but in a hidden form, in the dark, damp interior of the head which is the brain.» Interview with Sònia Trujillo, Ara, 17 November 2018.

BRANCUSI «Brancusi said that what’s important is not creating but being in a creative state, because the moment at which man’s existence begins is when he’s a desire... This sentence pursued me for weeks and weeks, I couldn’t forget it.» Interview with Vanessa Graell, El Mundo, 22 April 2015.

HEADS «My sculptures of the heads of people from all over the world have their eyes closed because, despite our different origins, when we close our eyes and look inside ourselves, we become part of

the immensity. There are many things we can’t perceive with our eyes or hear with our ears or say with our mouths, things that can only be perceived in this void.» Interview with Ima Sanchís, «La Contra», La Vanguardia, 28 December 2018.

IDENTITY «These figures with a mixture of alphabets are a hymn to the hope of a positive globality in which everyone has their own diversity. It’s not uniformization but the attractive and dynamic sight of widely differing cultures mixing while preserving their identities. If you and I are the same, we have nothing to say to each other. We’re individualities, we each have our own characteristics and personal beauty, but underneath we’re connected to an overall memory we all can share.» Interview with Elena Cué, ABC, 6 January 2019.

INFLUENCES «Of course, but I’m not talking about influences exactly. I love Miró. I’ve learnt a lot from Duchamp. But I’m not Duchamp or Miró. I can’t draw or create like them. So how must I create? I remember Mario Merz —an exponent of Italian arte povera—, who was quite a close friend and who created a fundamental work: a neon sign that said “Che fare?” That’s the great question: what are you to do? So that you can be yourself and others

can really see you as you are. I’m often asked why I do these girl’s heads with closed eyes. The answer is that it’s a matter of understanding that great beauty lies inside every human being. An extraordinary landscape which we usually keep hidden: for cultural reasons, out of shyness, because of a thousand things that make it difficult for us to externalize.» Interview with Fernando García, Magazine, La Vanguardia, 7 April 2019.

LETTERS «I see letters as a beautiful metaphor of society: a single letter is nothing, but with others it can form words and concepts. That’s the power of the community.» Interview with Ima Sanchís, «La Contra», La Vanguardia, 28 December 2018.

MESSAGE «I’ve always tried to offer a message of hope in my works. Every age has its political conflicts, which I experience and endure, but to me as an artist, it seems banal to reflect them: I have to transcend them and the only way that occurs to me is through beauty.» Interview with Ima Sanchís, «La Contra», La Vanguardia, 28 December 2018.

MUSIC «My father played the piano and my mother sang operetta

and zarzuela for a time. So music and books were important at home, but images were not. I had no talent for music. The darkness that surrounded me and the smell of the piano taught me to appreciate space and music in a very physical way.» Interview with Michael Stoeber, Sculpture Magazine, Vol. 25 No. 2, March 2005.

OBSESSION «This is an obsession of mine: I find it very hard to accept that art is a journalistic problem. I think art must transcend its period, and the message must at least try to do so, in the sense that you can’t for ever be talking about the events you’re living through as a human being. Of course you have to be involved in all social and political matters, but the art work can’t just bear witness to this. I think the work has to transcend and, above all, the work must offer the hope of a solution, not simply attest to the disaster. And this is always a very difficult attitude, because you always feel slightly frustrated, you get the impression that the work lacks the ability to transform society, but I go on trying. The work has to be a message for the future, a message of hope, and in this sense beauty helps me.» Interview with Mercè Alsina, Bonart, 21 March 2019.

THE PLENSA ALPHABET | 7

OPERA

OPPOSITES

«I had the good fortune to combine art with opera when I was working with the people from La Fura dels Baus, and I cherish the memory of that period. Àlex Ollé and Carlus Padrissa are two brilliant people and they approached me because they knew I was very fond of opera. We worked together for 11 years. I experienced from the inside those things I liked so much: the stage, the singers, the musicians... Incredible.»

«I enjoy the friction between opposing words like matter and spirit, day and night... We set little store by diversity and I feel that the more different we are, the more things we’ll have to exchange, but we’re obsessed by uniformity, by resembling... It worries me.»

Falla: La Atlántida, 1996 – Festival Internacional de Música y Danza de Granada Debussy: Le martyre de saint Sébastien, 1997 – Rome opera house / Teatro dell’Opera (Rome) Berlioz: La damnation de Faust, 1999 – Salzburg Festival and Ruhr Triennale Mozart: The magic flute, 2003 – Opéra de Paris, Teatro Real (Madrid) and Ruhr Triennale Janácek: Diary of one who disappeared, 2007 – Opéra de Paris, Gran Teatre del Liceu (Barcelona) and Tokyo opera house / New National Theatre (Tokyo) Bartók: Bluebeard’s Castle, 2007 – Opéra de Paris, Gran Teatre del Liceu (Barcelona) and Tokyo opera house/ New National Theatre (Tokyo) Interview with Luis Miguel Marco, Dominical, El Periódico, June 2012.

8 | SEASON 2022—2023

Interview with Ima Sanchís, «La Contra», La Vanguardia, 28 December 2018.

ORIGIN «An origin is not an attribute but a starting point. I’m Mediterranean and I feel Mediterranean. People are the only thing that fascinates me. If I could, I’d scrap passports, frontiers and flags. My art has the ability to transform my personal memory into something broader and more collective. Hey! but I know I have roots, and I’ve never given them up. Art shouldn’t be international, it should be universal.» Interview with Maria Palau, El Punt Avui, 29 January 2011.

PEOPLE «I often have to say that the body is geography in movement. I’m convinced each of us is a country, an island. But before we can understand the other islands, we have to understand our own topography. We’re interconnected islands separated by an ocean.»

Interview with Claire Lilley, catalogue of the Jaume Plensa exhibition in the Yorkshire Sculpture Park, West Bretton (West Yorkshire, UK), 2011.

POETRY «Literature is always described as the artist’s refuge. Poetry is an environment where you can breathe. Books are places you can always come back to and find yourself again, because you carry them inside you. They’re like a castaway’s letter in a bottle. There are books we should re-read at intervals throughout our lives, because a book is never the same twice, it changes like the reader, you rediscover it, you grasp new meanings... There’s a line from William Blake’s Proverbs of Hell that is always with me: ’One thought fills immensity’.» Interview with Ima Sanchís, «La Contra», La Vanguardia, 28 December 2018.

«Vicent Andrés Estellés defined a poet as someone who keeps watch through his people’s long night: ’and you alone will be awake, / and you will be awake for everyone. / They didn’t give birth to you to sleep: / they gave birth to you to keep watch / through your people’s long night’. Much earlier Ausiàs March talked about the same thing: the poet is the creator who keeps watch and thinks for all of us, he fills the void of unawareness and everydayness which

T H E

P L E N S A

ALPHABET gradually destroys you without you realizing it... The poet embraces you.» Interview with Vanessa Graell, El Mundo, 22 April 2015.

P U B L I C S PAC E «Putting beauty into people’s everyday lives is something I see as fundamental. Setting up an art work in an urban location often endows that location with order and meaning, relates it to a community, and the relationship between beauty and the community is something extraordinary.» Interview with Soria Trujillo, Ara, 17 November 2018.

REFLECTION «Look, I enjoyed going to my grandparents’ house because there I could only listen and learn. It was like going to a museum. When an elderly person speaks, it’s extraordinary how much they can give you in terms of information. All that, with the speed of the new technologies which have made our lives much better, has sometimes caused us to lose the place for reflection.» Interview with Elena Cué, ABC, 6 January 2019.

SCULPTURE «To me, sculpture is far more closely linked to music and poetry than to architecture, even though the link to

architecture seems more obvious. (...) Sculpture is pure soul. It’s the breath of life you can inject into a body. Culture in the pure state. In ancestral communities, sculpture was already the way people related to divinity, to what is abstract, untouchable, impossible. The relationship between humans and everyday life was defined in painting. It described how they hunted, ate, lived... But when a divinity was present, sculpture came into play». Interview with Fernando García, Magazine, La Vanguardia, 7 April 2019.

«In an age when the sculptor seems an anachronistic personage, in a world where everything moves, where information circulates fast, everything is digital, everything is evanescent..., we need somewhere we can rest, somewhere we can find ourselves again». Interview with Montserrat Serra, Vilaweb, 26 June 2015.

SILENCE «The noise of the world is so intense that you physically have to create silence, a powerful silence which allows us to listen to others and understand them, to retrieve the image of all those who have been trapped by the noise in the folds of indifference». Speech on being awarded an honoris causa doctorate, Universitat Autònoma de Barcelona, 6 November 2018.

TEXTS «I remember the first work I did that had a text. It was a bit like taking a stand, because in my youth I owed my entire training to poets and writers, more than to visual artists. That time I used a line from Macbeth, which to me is the best definition of sculpture, when he realizes that instead of murdering a king, he’s murdered the possibility of sleep. I think this contradiction between matter and spirit has been with me all my life. When he says: ’Sleep no more...’, it’s stunning, because that’s exactly what I think sculpture can convey as a message.» Interview with Mercè Alsina, Bonart, 21 March 2019.

U N I V E R S A L I TAT «This is something very attractive and it happens when a work becomes universal, because it embraces many people with similar sensibilities. I always try to make my work trigger a sort of movement in other people’s hearts. I simply push a bit to make the other person move and vibrate with me.» Interview with Elena Cué, ABC, 6 January 2019. Selection by VÍCTOR GARCIA D E GOMAR

Artistic Director of the Gran Teatre del Liceu

THE PLENSA ALPHABET | 9

Drawing by Jaume Plensa

Board of Trustees of the Fundació del Gran Teatre del Liceu

Executive Commission of the Fundació del Gran Teatre del Liceu

Honorary president Pere Aragonès Garcia

President Salvador Alemany Mas

President of the Board Salvador Alemany Mas

Representatives of the Government of Catalonia

First vice-president Natàlia Garriga Ibáñez

Representatives of the Spanish Ministry of Culture and Sport

Second vice-president Víctor Francos Díaz

Representatives of Barcelona City Council

Jordi Martí Grau, Marta Clari Padrós

Third vice-president Jordi Martí Grau

Joan Carles Garcia Cañizares

Natàlia Garriga Ibáñez, Jordi Foz Dalmau Amaya de Miguel Toral, Antonio Garde Herce

Representative of Barcelona Provincial Council

Fourth vice-president Núria Marín Martínez

Representatives of the Society of the Gran Teatre del Liceu

Representatives of the Government of Catalonia Jordi Foz Dalmau, Irene Rigau Oliver, Josep Ferran Vives Gràcia, Àngels Barbarà Fondevila

Representatives of the Sponsorship Council

Representatives of the Spanish Ministry of Culture and Sport Amaya de Miguel Toral, Joan Francesc Marco Conchillo, Santiago de Torres Sanahuja, Helena Guardans Cambó

Joaquim Badia Armengol

Representatives of Barcelona City Council Marta Clari Padrós, Josep Maria Vallès Casadevall Representative of Barcelona Provincial Council Joan Carles Garcia Cañizares Representatives of the Society of the Gran Teatre del Liceu Javier Coll Olalla, Manuel Busquet Arrufat, Ignasi Borrell Roca, Josep Maria Coronas Guinart, Àgueda Viñamata y de Urruela Representatives of the Sponsorship Council Luis Herrero Borque, Elisa Durán Montolío, José Manuel Casas Aljama, Alfonso Rodés Vilà Honorary trustees Josep Vilarasau Salat, Manuel Bertrand Vergès Secretary of the Board (not a trustee) Joaquim Badia Armengol General Manager Valentí Oviedo Cornejo

Javier Coll Olalla, Manuel Busquet Arrufat Luis Herrero Borque, Elisa Durán Montolío Secretary General Manager

Valentí Oviedo Cornejo

The future starts in the present. Let's move forward together.

Artistic season

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Benefactors

B OAR D OF B E N E FACTOR S President Cucha Cabané Vice-president Elena Barraquer Carlos Abril Ramon Agenjo Eulàlia Alari Muntsa Alcañiz Salvador Alemany Fernando Aleu Shawn Anderson Pere Armadàs Esperanza Aubert Josep Balcells Mercedes Barceló Simón P. Barceló Joaquim Barraquer Rafael Barraquer David Barroso Núria Basi Mercedes Basso Carmen Bastardas Margarita Batllori Manuel Bertran Manuel Bertrand Agustí Bou Josep M. Bové Carmen Buqueras Jordi Calonge Joan Camprubi Rosa Carcas Montserrat Cardelús Alejandro Caro Aurora Catà Ramon Centelles Guzmán Clavel Sergio Corbera Javier Cornejo Rosa Cullell Lluís de la Rosa M. Dolors i Francesc Maria Rosela Donahower

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16 | SEASON 2022—2023

Josep Milian Inma Miquel Verónica Mimoun José M. Mohedano Alexandra Molina-Martell Joan Molins Victòria Moncunill Juan Pedro Moreno Josep Oliu Victoria Parera Ivan Pons M. Carmen Pous Marian Puig Martina Priebe Victòria Quintana Juan Bautista Renart Blanca Ripoll Joan Roca Miquel Roca Pedro Roca-Cusachs Alfonso Rodés Gonzalo Rodés Josep Sabé Francisco Salamero Josep Ll. Sanfeliu Elina Selin Maria Soldevila Rafael Soldevila Jordi Soler Karen Swenson Manuel Terrazo August Torà Ernestina Torelló Josep Turró Joan Uriach Joaquim Uriach Marta Uriach Manuel Valderrama Ana Vallés Gloria Ventós Josep Viader Eduardo Vilá Josep Vilarasau Maria Vilardell † Luis Villena Salvador Viñas

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PG.

S EA S O N The Leap into the Void

Il trovatore OPERA

Cecilia Bartoli. Farinelli and his time CONCERT

Davidsen, Meier and Theorin CONCERT

Season 2022— 2023

The Plensa Alphabet

30 Resident artist

Monteverdi’s Madrigals (III) CONCERT

31 The Leap into the Void Through Different Voices PG.

OP E R A S, DA N C E , CON C E R T S, R E CITA L S

Il trittico OPERA

Il tabarro OPERA

Suor Angelica OPERA

Dudamel conducts Mahler’s 9th Symphony C ON CE RT

Don Pasquale OPERA

Gianni Schicchi OPERA

Tosca OPERA

The Lost Cat

Jungle Book reimagined

OPERA

DANCE

Tenor Viñas Contest CONCERT

129

155

CONCERT

157

Mahler’s Universe (I): 3rd Symphony

Mahler’s Universe (II): 6th Symphony

101

Trencanous-jazz IT Dansa

159

Monteverdi’s Madrigals (IV)

La nit de Sant Joan

CONCERT

161

La Barcarola

163

Macbeth

OPERA

El monstre al laberint

DANCE

165

Coppél-i.A.

OPERA

Alcina (C. V.)

131

103

Manon OPERA

107

Parsifal

136

Always Mozart!   CHAM B E R M US IC

137

Brass virtuosi

7 Deaths of Maria Callas

Orfeo ed Euridice (C. V.) OPERA

PG.

138

TA L K S A N D E X H I B IT I ON S PG.

142

145

Els músics de Bremen

Alexina B. OPERA

147

Miralls

Winterreise (The Winter Journey) with Antonio López

115

CONCERT

OPE RA-DANCE

(Oh!)pera OPERA

L’incoronazione di Poppea OPERA

R E C I TA L

127

Sondra Radvanovsky & Piotr Beczała R E C I TA L

184

L I C E U A PR O PA PG.

188

CA L E N DA R

200

directory D ’A R T I ST E S

Dido & Aeneas

123

PG.

119

Sara Blanch & Xabier Anduaga

168

S U B S CR I PT I ON S AN D TICKETS

E L PE T IT L I C E U

OPERA

PG.

CHAM B E R M US IC

OPERA

111

Symphony. Un viatge virtual al cor de la música

149

El conte de Nadal de Charles Dickens

151

La cuina de Rossini

153

La petita flauta màgica

Tickets, invitations and programmes which the audience have held in their hands in the course of the Liceu's 175-year history.

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Open DOORS

SALVAD OR ALE MANY President of the Fundació del Gran Teatre del Liceu

e are opening our doors to usher in a new season, which is a preview of the opera house as we want it to be. It has been a complex task, and still is, but we work on it day after day with help from you all: subscribers, sponsors, benefactors, staff, different levels of government, and the general public. Many thanks. The Gran Teatre del Liceu advances with determination along its path towards singularity and excellence in this unique season. It will be marked by up-to-dateness and innovation on stage but we will be walking hand-in-hand with other arts as well, in line with the brilliant proposal from Víctor García de Gomar, our artistic director, the leitmotif of which is a courageous leap, a veritable leap into the void. This will be a season, which makes the great leap into the 21st century, into the future. We are opening our doors to new worlds as well thanks to two projects headed by our general manager, Valentí Oviedo: Liceu Aprèn and Liceu Apropa. They target age groups from young to old and reflect two of the Liceu’s basic concerns: education and society. A third concern is inclusion, or working for everyone, which has prompted us to discard our old motto – El Liceu de tots or "everybody’s Liceu" – and fling our doors wide open to create a Liceu for everybody. Who would have thought we would one day team up with the surrounding Raval district to premiere a newly created, participative opera in collaboration with over fifty associations? Yet this year it will happen, thanks to La gata perduda (The Lost Cat), a project praised throughout Europe which overturns physical and mental barriers. This initiative, born in our hearts, allows us stretch out our hands to the population at large.

22 | SEASON 2022—2023

Our doors are also opening to some exciting challenges, like the one taken up by Josep Pons, our music director, who is to conduct Mahler’s ten symphonies, two every year, over a period of five years. This will be a milestone achievement for our well-established, much applauded orchestra and our chorus, which will continue to advance towards a personal style and balance under its new conductor, Pablo Assante. This season will also see the return of Wagner, who has been absent from the Liceu since Tristan und Isolde in 2017 owing to the pandemic and his large-scale orchestrations. Welcome back, Wagner! And we will also enjoy hearing Donizetti, Verdi, Puccini, Handel, Massenet, Gluck, Monteverdi and others, not to mention Alexina B, by Raquel García-Tomás, who will become the second female composer to premiere an opera at the Liceu. Another highlight is the new audiovisual platform Liceu+ (liceuplus.com). Designed to ensure that opera can be seen “wherever you want, whenever you want” thanks to our new digital subscription, it will also enable us to learn, study and entertain ourselves with all the additional materials we create so that opera becomes a great travelling companion for all our audience. We will inaugurate the 2022/23 season with a new entrance by Jaume Plensa. This work of art, which fulfils a twofold physical and symbolic function, was made for both the opera house and the public. The Liceu is yours. We want every experience that takes place there to accompany each and every one of you so that we may go on weaving the history of our opera house as it approaches its 175th anniversary. Let’s make history. We are history.

The future

T H AT I S N O W B E G I N N I N G VALE NTÍ OVI E D O General manager of the Gran Teatre del Liceu

uring the 2022-23 season, as we continue our celebrations for the Liceu’s 175th anniversary, we have a new opportunity to highlight various aspects of its history: its origins, linked to education and the Conservatory; its nature, as a dynamic, committed society and an opera house with a vocation for involvement in public affairs; and finally its resilience, for the Liceu we know rises again with greater strength after every setback. A glance into the rear-view mirror is the second step towards advancing safely and confidently. The first step is wanting to start out. And indeed we’re not just starting out but making a "leap into the void" because only by accepting some element of risk can we continue to support compositions, stage directors and great singers in this new season which looks into the future. In 2022-23 we are especially keen to highlight creations from our own country because focussing on present endeavours helps us to feel proud of our heritage. The Liceu remains an opera house of great singers – those who arrive in order to grow and those who return to illuminate us – with an excellent Chorus and Orchestra which reinforce its unique personality. Quality is and will remain the best path towards becoming what we want to be. Accessibility will be a core objective of this season and the coming ones. With this in mind we have launched our new digital season, Liceu+ LIVE, which lets you see opera whenever you want and wherever you want, either live or in a special edited version. It has everything to round off your operatic experience and enable you to see opera as never before. Liceu+ LIVE is the perfect complement for enjoying live opera

while putting it within reach of all those who, for whatever reason, cannot come to the Liceu but want to enjoy, understand and discover the world of opera. Still on the topic of accessibility, this season we will be presenting one of the Liceu’s most socially ambitious projects: La gata perduda (The Lost Cat), a community opera in which the leading roles are played by the Raval district and its residents. This benchmark undertaking has become an exercise in cohesion and transformation which has brought happiness, enthusiasm and excitement to both the Liceu and the neighbourhood that has been its home for 175 years, despite their apparent differences. Values such as equity and accessibility are the touchstones today’s Liceu. We still have a long way to go but we press on, perseveringly and persistently, to forge the DNA which will make us feel proud of our opera house. For that same reason, the educational project LiceuAprèn and the social project LiceuApropa retain their strategic weight in our overall plans. The future that is now beginning has another key feature: our president, Salvador Alemany, who has a vital role to play in the new phase we are embarking on together, has received the Board’s unanimous endorsement for a renewed mandate. Thanks to the support of different levels of government, the enthusiasm of our sponsors and benefactors, the boundless energy of our subscribers and audience, and the tireless dedication of all of us who are part of the Liceu, our project will forge steadily ahead. The Liceu’s future begins in the present. So let’s make it possible!

PRESENTATION | 23

(De)composing

THE LEAP INTO THE VOID VÍ CTOR GAR CIA D E G OMAR Artistic director of the Gran Teatre del Liceu

ver the centuries art has supported governments and lent legitimacy to ideologies and religions. Today, however, its job is to respond to what is happening on our planet: hunger, coexistence between species, migration, exile, gender... It is our obligation to ask ourselves the right questions and the stage is where we must go on asking them. Thus the Liceu is a Utopian island where we must (re)imagine ways of saving the world, and opera is a tool for drawing an accurate portrait of the speed of today’s world by addressing topics like the unscrupulous exploitation of the environment (to the point of creating animals simply in order to provide replacement organs for humans) or the return to a situation reminiscent of the Middle Ages, rife in social inequality. A cultural institution, moreover, has a duty to create new myths, to re-examine old myths, and to provide moments of spectacular beauty as well. But the choice of values is never innocent and they penetrate subversively into stories, fables and tragedies. Opera is an open book for discovering, creating, coexisting and being. Like George Orwell’s 1984, dystopias invariably discuss the present and ourselves from the viewpoint of a different future. How is truth built up once we have shown reality? In thousands of stories written in the 19th century, the characters reached a crossroads where they faced two opposing paths: virtue or pleasure. In the 20th century, world wars, conflicts and totalitarian regimes showed that an idealized

24 | SEASON 2022—2023

society was only possible if part of it was massacred. Today, in the midst of the digital revolution, we are again faced by a mirage on which the world must be built and organized. And by the way, will that world still be inhabitable? Our point of view, as a national opera house with public funding, is that we must offer tools for understanding where we came from and where we are going, and for imagining possible futures. Thus our season must juxtapose individuals and microstories which advance along parallel courses, not in the sense of a linear narrative, but as a genealogy of rivers with endless connections. We are putting the world on stage by drawing a map of experiences which uncover new experiences: de-narrating in order to re-narrate. This season is not a pantheon of illustrious titles: instead it gives rise to accounts which reflect the courage of a whole gallery of characters. They face decisions which cannot be reversed: Tosca (contending with a man who harasses her), Manon (on the road to wealth or to a love that will drag her into poverty), Alexina (who breaks down her identity to find out if she fits into the male or female world) and Parsifal (who relinquishes pleasure to concentrate on virtue), and many more besides. The Liceu cannot predict the future but it can warn of its consequences. Thus this season invites us to investigate the need to move out of our comfort zone and leap into the void. The horizon does not exist, it advances with us. Let’s make the leap together!

With our eyes ON THE FUTURE J OS E P P ON S Music director of the Gran Teatre del Liceu

his year I have pleasure once more in sharing with you the new season full excitement and challenges designed by the Liceu’s Music Department.

First and foremost, we have extended our international outreach by means of the digital platform Liceu+ and our recording agreement with Harmonia Mundi France. We will also be travelling to the Opéra national de Paris to perform Bluebeard’s Castle at La Bastille, a concert which had to be postponed last season because of the pandemic. With regard to our activity at the Liceu, I want to single the concert that brings together three great stars of the Wagner and Strauss repertories from consecutive generations – Waltraud Meier, Iréne Theorin and Lise Davidsen – and the start of the concert series Mahler’s Universe. To see these three great sopranos, who are the present and future of the finest interpretations of Wagner and Strauss, on stage together will be a very special experience. Mahler’s Universe, which will span five seasons, will be another event without precedent in our country. A single orchestra, that of the Liceu, under a single conductor, myself, will perform Mahler’s complete symphonic works, including his song cycles. This audience will be immersed in his singular sound universe, his “inner world”, which describes humanity at a depth never before achieved, and confronted with his questions and postulates which lead into the 20th century. We also offer you a wide selection of chamber music, notably two performances by different

ensembles – Liceu Clàssic with Kolja Blacher and Liceu Brass with Stefan Dohr – and a new concert cycle by chamber groups to be staged in conjunction with the association Amics del Liceu. In the midst of all this activity special mention must go to the work done by certain members of our Chorus and Orchestra as part of the educational and social projects Liceu Aprèn and Liceu Apropa, two endeavours that open the way to the future of our opera house. At a more personal level I want to refer to the four works in very different styles which I will conduct from the orchestra pit: Parsifal, the opera by Wagner which evokes the Monastery of Montserrat; Verdi’s Macbeth, which provides a new occasion for teamwork with Jaume Plensa; Alexina B., by Raquel García-Tomás, which attests to the Liceu’s firm support to new creations; and Donizetti’s Don Pasquale, the bel canto opera which will start the season off, highlighting not only the virtuosity of the singers but also the delicate orchestration. Nor do I wish to miss the opportunity of expressing my gratitude to the Board of the Gran Teatre del Liceu for renewing my appointment as musical director. This will undoubtedly give me the opportunity to complete the modernization of the Liceu’s Orchestra and Chorus, in collaboration with Pablo Assante who will head the Chorus in this new, exciting period. It will also enable me to define and face the challenges which will allow us to grow and achieve the excellence we all wish for in this "new space for emotion" we know as opera.

PRESENTATION PRESENTACIÓ | 25

The Chorus and Orchestra of the Gran Teatre del Liceu with Josep Pons, its resident conductor, and Pablo Assante, the conductor of the Chorus. 26 | SEASON 2022—2023

©Igor Studio

THE PLENSA ALPHABET | 27

The Chorus and Orchestra of the Gran Teatre del Liceu with Josep Pons, its resident conductor, and Pablo Assante, the conductor of the Chorus. 28 | SEASON 2022—2023

©Igor Studio

THE PLENSA ALPHABET | 29

Resident ARTIST ÀLE X OLLÉ Stage director

f I try to convert the metaphor of leaping into the void into images, the first that comes to mind is an astronaut floating in the infinite emptiness of space. A leap into the void, seen from space, is a leap that propels us towards that unknown horizon we call the future. But a second image also occurs to me, this time from Alice in Wonderland. Alice’s fabulous journey through the imagination begins when she leaps into the void after entering the burrow of the White Rabbit, who is dashing about, obsessed by the passing of time. I find both images helpful in discussing the Liceu because the season we now present, as I see it, has two basic keynotes: one is the future, or the need to recover the initiative when we reach it, and the other is woman, or the vital need to ensure women occupy top positions in the world of opera. Let’s start with the future. For those of us who received our training in the cultural magma of the 1980s, reaching into the future was a priority. That momentum, for some reason, has gradually weakened, and I think the time has come to reactivate the pulse that throbbed in Barcelona in those years so as to stimulate creativity, thought and reflection. We must revive the spirit of that diverse Barcelona, open to the world, which was a meeting point for creators from all artistic environments. And I think the Gran Teatre del Liceu now has the opportunity to help to put Barcelona at the international epicentre of creativity. 30 | SEASON 2022—2023

And now, without forgetting the future, let’s go on to the role of women. We have to admit quite explicitly that, aside from female singers, women have been absent from the history of the Liceu. To find a woman composer, we have to go back to 1974, when Matilde Salvador from Valencia premiered her opera Vinatea here. This season the Liceu is starting to put things right by calling on the Catalan composer Raquel García-Tomás, who will give the first performance of her Alexina B., the Serbian artist Marina Abramovic, and two female stage directors: Lotte de Beer from the Netherlands and Marta Pazos from Galicia. It was high time. On the creative front, we have also enlisted some well-established artists from near to home —the sculptor Jaume Plensa and stage directors Calixto Bieito and Rafael Villalobos—, alongside others from all over the world —the German Claus Guth, Olivier Py from France, and Damiano Michieletto from Italy—. And to give a boost to the younger generations, we are running the project (Oh!)pera, which focusses on young creators. All of us —me, the resident artist, included— will be leaping into the void in search of creativity... while chasing after the White Rabbit, who scurries about, with his watch in his hand and his eyes riveted on the horizon of the future, trying to capture the last moment (which promptly becomes part of the past).

Drawing by Jaume Plensa

The leap into the void THROUGH DIFFERENT VOICES «Le soleil ni la mort, ne se peuvent regarder fixement.» François de La Rochefoucauld. In a world full of contradictions and paths to choose from, asking questions can bring momentary relief, allowing us to change directions and take a brave step forward. The chronic immediacy of the society we live in has made us excessively geared to producing results and quick replies. Unable to weigh up the alternatives, we are afraid of leaping into the void and suffering the tragic outcomes of a wrong decision. Art is often a place for getting away from day-to-day problems. In a sense, it invites us to reflect and learn and offers a guide to solving problems we have not experienced. A set of highly distinctive, sensitive voices will guide us through this healing experience to make us ready for the leap into the void.

JAU M E PLE N SA Visual artist, sculptor and engraver MAR I NA AB RAM OVI C Performance artist, photographer, video artist and set designer ANTON I O LÓPE Z Painter and sculptor LOU I S E G LÜ CK Poet RAQU E L GAR CÍA-TOMÁS Composer and video artist FLÁVIA J U N QU E I RA Photographer and visual artist

32 | SEASON 2022—2023

Drawing by Jaume Plensa

JAU M E

Plensa V I S UA L A R T I S T, SCULPTOR AN D E N G RAVE R

«Art is eternal, the crisis is temporary.»

Jaume Plensa

he visual artist, sculptor and engraver Jaume Plensa has experimented with numerous techniques including sketching, opera set design – in collaboration with La Fura dels Baus –, video projections and sound installations. Ideas are the material he works with and the poets Canetti, Dante, Shakespeare, Blake, Estellés and Valente are his guides. The Liceu has invited this universal Catalan artist to take possession of Verdi’s Macbeth by staging an original aesthetic ceremony in which his sculptures will be set in motion. Plensa has also taken over the book of the season you have before you, and will be designing a new main entrance to the opera house. Plensa and his world will take up residence at the Liceu to dazzle our audience. His works engage in dialogue with tradition and classical references, while making a poetic and spiritual contribution fuelled by experiments in intuition. His major topics for reflection are clear from his output. The frustrated expectations of modernity are one; another is art viewed as a place for asking oneself questions and putting established ideas in doubt. Art to him is a means to be used in the daily struggle to create a better society by taking risks. Dreams, like art, bring us close to the reply to a question which has never been expressly formulated. There is no dream without desire, but

without dreams there are only question marks rising in the void. Once more we are faced with the question. The works of Jaume Plensa speak to the world, they are images that dream of a new world. What are you running away from? I don’t like the expression "running away" because it implies a “direction”. I see our lives as an organic route which constantly expands and retracts. Could you give an example of the leap into the void which society must make in the coming years? Society should have the courage to eradicate lies once and for all. Which art work in history best depicts the leap into the void? There are two works which have always seemed to me the best image of the “leap into the void”: Michelangelo’s Moses and Rodin’s Balzac. OPERA GRAN TEATRE DEL LICEU

From 16 February Verdi: Macbeth (New to 3 March 2023 production). Created by Jaume Plensa EXHIBITION MIRROR ROOM

From 16 February to 11 March 2023 CONVERSATION FOYER, GRAN TEATRE Monday 20 DEL LICEU

February 2023, Conversation between 5 pm Jaume Plensa and Víctor Garcia de Gomar

THE LEAP INTO THE VOID THROUGH... | 33

IMATGE PLENSA

34 | SEASON 2022—2023

Drawing by Jaume Plensa

MARINA

Abramovic P E R F O R M A N C E A R T I S T, PHOTOG RAPH E R, VI D EO ARTIST AND SET DESIGNER

«I always give one hundred per cent. My soul, my poetry, my atomic structure, my whole being.» Marina Abramovic.

arina Abramovic is the queen of performance art and one of the most influential artists of recent decades, a radical creator who has pushed back the frontiers of art by exposing herself in front of an audience. Born in Belgrade, she did a performance entitled Rhythm 5 in 1974 in which she put herself in the middle of a burning wooden star. She lost consciousness and fortunately was rescued by a member of the audience. On another occasion, when she submitted herself, naked, to the desires of the audience, she received a cut on the neck and a loaded pistol was aimed at her. This marked the beginning of five decades of boundless activity in which she shows herself in the flesh and deploys her personality to the uttermost limit. She is jovial and communicative, with the energy of an adolescent; her art stirs us up inwardly and is deeply emotional. An untiring fighter and pioneer of performance art, she has achieved even greater stature and become a veritable artistic icon. In 2023 she is to stage a major retrospective at London’s Royal Academy, becoming the first woman to exhibit at that celebrated venue in its 250 years of history. She is an artistic genius who perpetually reinvents herself. Her curiosity is as infinite as the risks she takes.

Daring and courageous, she exceeds all expectations, extends boundaries and lends new perspectives to art. Abramovic is the synonym of the leap into the void, an iconic personality in every sense. What are you running away from? I don’t think I’ve ever run away from anything. If there’s a wall in front of me, I go through it. I never look away. It’s so important to face problems, not avoid them. Could you give an example of the leap into the void which society must make in the coming years? There’s no example of the leap into the void which society must make. All of us, individually, are responsible and all of us, individually, must change our consciences to make this world a better place. Which art work in history best depicts the leap into the void? David Hammon’s Bliz-aard Ball Sale done in 1983. It’s a work about the marriage between an idea and immateriality. For me it’s the best example of the leap into the void. SHOW GRAN TEATRE DEL LICEU

From 9 to 7 Deaths of Maria Callas 11 March 2023 Created by Marina Abramovic CONVERSATION FOYER, GRAN TEATRE Monday 6 March DEL LICEU 2023, 7 pm Conversation between

Marina Abramovic, Víctor Garcia de Gomar and Leticia Martin

THE LEAP INTO THE VOID THROUGH... | 35

IMATGE PLENSA

36 | SEASON 2022—2023

Drawing by Jaume Plensa

ANTONIO

López PAI NTE R AN D S CU LPTOR

«Art survives if it is made with the nobility of truth» Antonio López

ntonio López (Tomelloso, Ciudad Real, 1936) uses painting, drawing and sculpture to reflect on the passing of time, human beings and their surroundings. His patient observation of life leads him to give equal weight to words and silence. The characteristic quiescence of his work contrasts with his positive, simple, honest spirit. López will be making his first incursion into set design by occupying Barcelona’s former ’La Model’ prison where he will show his version of Schubert’s Winterreise. The mature Narrator-cum-Convict, who can travel only in his mind’s eye, searches for fundamental values, divesting individuals of any superfluous attributes. With a view to immobilizing the single instant along with the subtlety that enriches it, he exalts the ephemerous and his own fragility. He approaches the surrounding reality, slipping into the cracks to apprehend its physical and psychological aspects and working always from a single angle so as to capture its essence. What are you running away from? I’ve never felt I was running away from anything. I’m proactive and I feel capable: that’s the opposite of surrendering or escaping. It would be different if the question were «What do I give up?».

What ideas do you think will move society in the coming years? I hope it won’t be money, or the destruction of nature. Man has so much power now that he can destroy it and that would have fatal consequences for everyone’s future. Respect for nature is the safest bridge for uniting us as a society, especially after man has occupied the earth in such a brutal way. Which works of art inspire you most? Other people’s art and nature inspire me a lot. I’m increasingly surprised by the achievements of ancient art, when instinct played the role culture and knowledge play today. Now that man knows more, he makes more mistakes. CONCERT FORMER ’LA MODEL’

23, 24 and 25 PRISON / LICEU March 2023, F. Schubert: Winterreise, D. 911 8 pm Video projection of works by Antonio López. Benjamin Appl, baritone – James Baillieu, piano EXHIBITION FORMER ’LA MODEL’

From 23 March to PRISON / LICEU 30 April 2023 Works by Antonio López CONVERSATION FORMER ’LA MODEL’ Thursday 23 PRISON / LICEU

March 2023, Conversation between 7 pm Antonio López and Ramón Andrés

THE LEAP INTO THE VOID THROUGH... | 37

LOUISE

Glück POET

«Beauty dies: that is the source of creation.» Louise Glück

he American poet Louise Glück (New York, 1943), 2020 Nobel Prize for Literature, is an outstanding figure of present-day literature.

Her works deal with her living adventures, her deaths and resurrections, and make a stringent effort towards introspection. In her endless conversation with herself, the verbs "to be born" and "to die" are of consubstantial with her personality. Her world brings secrets and desires to the surface and strives to overcome loss and desertion while analysing aspects of the feminine condition. In her long career stretching over five decades, she has published over a dozen volumes of poetry and received nearly all the most1 prestigious literary prizes. "You always draw on your own experience because it’s the material of your life, starting with your childhood. But I look for archetypal experience, and I assume that my struggles and joys are not unique. They feel unique as you experience them, but I’m not interested in making the spotlight fall on myself and my particular life, but instead on the struggles and joys of humans who are born and then forced to exit. I think I write about mortality because it was a terrible shock to me to discover in childhood that you don’t get this forever." And on the subject of routine and the leap into the void she says: You’re writing to be an

38 | SEASON 2022—2023

adventurer. I want to be taken somewhere I know nothing about. I want to be a stranger to a territory. One of the few good things to say about old age is that you have a new experience. Diminishment is not everybody’s most anticipated joy, but there is news in this situation. And that, for a poet or writer, is invaluable. I think you have always to be surprised and to be, in a way, a beginner again, otherwise I would bore myself to tears. And there have been times when I have, when I’ve thought, you know, you wrote that poem. It’s a very nice poem, but you already wrote it." About the leap into the void, Glück proposes the following: "Occasionally something will give pleasure, will actually charm or divert or entertain, will, to use that terrifying word, disarm. Insofar as our fearful compulsive, rigid natures allow, I think we should welcome what follows [...]."

POEMS Louise Glück has selected some

of her own poems and verse for inclusion in the materials, in various formats, devoted to the 2022-23 season.

RAQUEL

García-Tomás COMPOSER AND VIDEO-ARTIST

aquel García-Tomás (Barcelona, 1984) is a composer who specializes in interdisciplinary creation. She was awarded the 2020 National Prize for Music by the Spanish Ministry of Culture. Her idiom is innovative and venturesome and she speaks with a highly distinctive voice, in terms both of technique and style. The quality of her unique experimental work has enabled her to connect with the public. A good example is her opera Je suis narcissiste, which was enthusiastically hailed by audiences in Madrid and Barcelona on its premiere in the 2018-19 season.

Could you give an example of the leap into the void which society must make in the coming years?

During her residence at the Gran Teatre del Liceu, we will have a chance to enjoy the first performance of her new opera Alexina B., with stage direction by Marta Pazos and a libretto by Irène Gayraud. She received a Leonardo grant from the Fundación BBVA to write it and the Liceu expressed interest in hosting the world premiere. This will be the second opera by a woman composer to receive its first performance at the Liceu, after Matilde Salvador’s Vinetea in 1974. It’s high time we set things to rights!

Which art work in history best depicts the leap into the void?

What are you running away from? I’ve realized over the years that if I run away, whatever is pursuing me goes on growing. Suddenly I turn round and stare at it as if it was a wild animal. As I look into its eyes, I realize it’s not as big as I thought and I’m not so afraid. I am that animal and the thing I was running away from was only a small part of me trying to tell me something I didn’t want to acknowledge.

The most urgent leap into the void, as I see it, is a change in the self-destructive habits created by the voracious capitalism we live in. Let’s be more eco-responsible, let’s slow down the frenetic pace of everything round us, let’s embrace human diversity and make visible, from an attitude of respect, all those who have not yet had a space of their own and who can undoubtedly contribute to a fairer world for everyone.

Leap into the Void (1960), by Yves Klein. EXHIBITION MIRROR ROOM

From 18 March Brizna, installation. to 2 April 2023 Raquel García-Tomás, composer Lluc Queralt, photographer María Sánchez, poet CONVERSATION TENOR VIÑAS ROOM

Thursday Conversation between 16 March 2023, Raquel García-Tomás, 8 pm Marta Pazos and Irène Gayraud. Moderated by Víctor Garcia de Gomar

THE LEAP INTO THE VOID THROUGH... | 39

IMATGE PLENSA

40 | SEASON 2022—2023

Drawing by Jaume Plensa

FLÁVIA

Junqueira PHOTOGRAPHER AN D VI SUAL ARTI ST

lávia Junqueira, who was born in São Paulo in 1985, has a fresh approach that took the world by storm. She introduces us into scenes which combine the real with the fictitious, the physical with the allegorical, present with past, adult with child; scenes in which history turns into memory. Her fanciful and festive imaginary landscapes immerse us in the distant national culture, making us feel the weight of history and listen to the silence of the past. In her works, the performers who ascend the stage are balloons, regardless of the nature of the theatre, whether it be the street or the sky. Flávia Junqueira’s output delves into topics to do with representation and its links to history. Though her photographs are highly pictorial, the interest they present is much more sculptural. By occupying historic places with balloons, she creates delicate celebrations of impermanence. Junqueira breathes life into these spots, and the scenography she seeks to create is spatial, despite its ludic appearance. Her flimsy metaphor enables her to make a critique of the (dis)functionality of artistic, architectural and political systems. This transitory landscape represents a leap into the void, a reflection on the superficiality of the present time and stimulates meditation on the transience of everything.

What are you running away from? From a melancholy, anxious way of life engendered by the modern conception of lineal, evolutive time. I think this ideal of progress sets us apart from the here and now of existence, which is essential to a joyful, playful life. Could you give an example of the leap into the void which society must make in the coming years? We need to free ourselves from the promises of modernity, which will not, of course, be kept. Our faith in this model of development has serious implications which are not merely subjective and existential but economic, political and environmental as well. Which art work in history best depicts the leap into the void? The toboggans of Carsten Höller come to mind because they not only depict the leap into the void but dare us to "leap". Höller’s work reminds us that we are bodies and that art can be a privileged space in which to practise other perspectives of the world. INSTALLATION 13 SALA

October 2022 EXHIBITION MIRROR ROOM

From 26 October to Junqueira al Liceu 13 November 2022

THE LEAP INTO THE VOID THROUGH... | 41

O P E RAS

DA NCE

C ONCE R TS

Season 2022—2023

Drawing by Jaume Plensa

R EC ITALS

44 | SEASON 2022—2023

Drawing by Jaume Plensa

Dudamel conducts Gustav Mahler’s 9th Symphony AT T H E G R A N T E AT R E D E L L I C E U

Tuesday 20 September 2022—

hough the pandemic has caused the project to twin the Opéra National de Paris with the Gran Teatre del Liceu to be postponed, Gustavo Dudamel will fire the starting shot for the new season when he descends on us like a hurricane of energy and vitality to unveil the mysteries of Gustav Mahler’s Ninth and last symphony. Premiered after the composer’s death, it reflects the essences of the world and combines startling subtlety with the most expansive eloquence. This is an ideal opportunity to succumb to the charms of this great Mahlerian conductor, for when it comes to creating addiction to composers and repertories, there’s no one like Dudamel. The proposed exchange between the two orchestras and their conductors attests to the warm relationship between the opera houses themselves. For the Liceu, its orchestra and Josep Pons, this event will be a highlight of our 175th anniversary. To round off the project, the same concert will be staged at the Palais Garnier at the end of the season.

SEPTEMBER 2022 TUESDAY 20

19 h

Turns

Prices

—

From 14 to 255 €

AT THE GRAN TEATRE DEL LICEU TUESDAY 20 SEPTEMBER 2022

G. Mahler Symphony No. 9 Orchestra of the Opéra National de Paris Conductor Gustavo Dudamel With exceptional support from Bertrand and Nathalie Ferrier, major donors of tours by the Orchestra of the Opéra National de Paris

OPÉRA NATIONAL DE PARIS (LA BASTILLE) FRIDAY 10 JUNE 2023

B. Bártok Bluebeard’s Castle JUDITH Iréne Theorin BLUEBEARD Sir Bryn Terfel

Symphony Orchestra of the Gran Teatre del Liceu Director Josep Pons

Approximate running time: 1 h 30 min

CONCERT | 45

Drawing Plensa 46by| Jaume SEASON 2022—2023

Don P Pasquale asquale G A E TA N O D O N I Z E T T I

From 21 September— to 9 October 2022

DRAMMA BUFFO IN THREE ACTS

Libretto by Giovanni Ruffini i Gaetano Donizetti World premiere: 3/1/1843 at the Théâtre Italien in París   Barcelona premiere: 19/1/1848 at the Gran Teatre del Liceu Last Liceu performance: 27/6/2015   Total number of Liceu performances: 103

Stage director Set design Costume design Lighting Video Production

Damiano Michieletto Paolo Fantin Agostino Cavalca Alessandro Carletti Roland Horvath/rocafilm Opéra de Paris, Royal Opera House (London) and Teatro Massimo di Palermo

DON PASQUALE Carlos Chausson | 21,

25, 27 September, 1 and 9 October Alessandro Corbelli | 22 September, 3, 6 and 8 October DOCTOR Andrzej Filonczyk | 21, MALATESTA 25, 27 September, 1 and 9

October Carles Pachón | 22 September, 3, 6 and 8 October ERNESTO Xabier Anduaga | 21, 25 27

September, 1 and 3 October Iván Ayón-Rivas | 22 September, 6, 8 and 9 October NORINA Sara Blanch | 21, 25, 27

Turns

SEPTEMBER 2022

Prices

WEDNESDAY 21

19 h

—

THURSDAY 22

19 h

From 15 to 263 €

SUNDAY 25

17 h

From 15 to 263 €

TUESDAY 27

19 h

From 15 to 263 €

SATURDAY 1

19 h

From 15 to 263 €

MONDAY 3

19 h

From 15 to 263 €

THURSDAY 6

19 h

From 15 to 263 €

SATURDAY 8

18 h

From 14 to 237 €

SUNDAY 9*

18 h

From 15 to 263 €

OCTOBER 2022

September, 1 and 9 October Serena Sáenz | 22 September, 3, 6 and 8 October A NOTARIES David Cervera

Chorus of the Gran Teatre del Liceu Pablo Assante, conductor Symphony Orchestra of the Gran Teatre del Liceu Conductor Josep Pons

Approximate running time: 2 h 40 min (*) Function with audio description

OPERA | 47

Don Pasquale G A E TA N O D O N I Z E T T I

«Haha... Prender moglie...? Perdonate la sorpresa!» (Haha... You’re getting married...? Forgive me if I look surprised!)

hen the aged and decrepit Don Pasquale decides to get married to thwart the expectations of his nephew and heir Ernesto, he finds himself in a waking nightmare. For Ernesto, with help from Doctor Malatesta, vows to make Don Pasquale fall into his own trap and persuades his fiancée Norina to impersonate the old man’s bride. After a docile start, Norina turns into a veritable virago with a remarkable talent for acting. The clash between generations generates a lively comedy but also an undertow of sadness. After all, is an old man not entitled to love and

48 | SEASON 2022—2023

Bass-baritone DON PASQUALE

Tenor ERNESTO

CA R LO S CHAUSSON

SARA BLANCH

After studying at the Escuela Superior de Canto de Madrid under Lola Rodríguez Aragón, he began his career in San Diego as Masetto in Don Giovanni. He went on to sing with leading companies in the United States and subsequently in major opera houses throughout the world. He made his debut at the Gran Teatre del Liceu in Tosca in the 1984/85 season.

After making her first appearance in a contemporary opera at the age of 16 at the Teatre Nacional de Catalunya, she undertook further studies at the Liceu’s own conservatory. She made her debut at the Gran Teatre del Liceu in the 2016/17 season in Thaïs.

Soprano NORINA

XABIER ANDUAGA

JOSEP PONS

Born in San Sebastian, he joined the Accademia Rossiniana and studied under Maestro Alberto Zedda. He made his international debut there in 2016 as Belfiore (Il viaggio a Reims). Since then he has sung in opera houses and concert halls throughout the world. He took part in the concert Del dolor a l’esperança (2020/21) but this will be his stage debut at the Gran Teatre del Liceu.

Considered one of the most prominent conductors of his generation, Pons regularly conducts major orchestras throughout the world and maintains a stable relationship with them. He has recorded some fifty works for Harmonia Mundi France and Deutsche Grammophon and received key distinctions including the Grammy and Cannes Classical Awards. He made his debut at the Gran Teatre del Liceu in 1993 and since 2012 has been the Liceu’s music director.

live? Having the courage to love means making a leap into the void. Don Pasquale was premiered in 1843 at the Théâtre Italien in Paris (where Donizetti had been living since 1838). This well-loved opera tells a hilarious tale in which one trick leads to another and has raised a smile among audiences of many generations. Right from the brilliant overture – a capolavoro which ignores Rossini’s model –, the opera unfolds in an atmosphere of lively elegance, with a perfect dovetailing of music and text. This is the masterpiece of a genius in which the music itself is eminently theatrical. On the basis of the scintillating score which Donizetti, according to legend, wrote in just ten days, Damiano Michieletto has built his own skilful production, set in our own times, which keeps the humour and vitality intact. It

Conductor

possesses such sincerity and dramatic depth that, while we recognize the stock characters of the commedia dell’arte, they immediately appeal to us as part of our own small world. Michieletto leads us into the heart of this apparently jovial work which is considered the apotheosis of opera buffa. The farce is underscored by the rich melodies, which are one of the hallmarks of the music, but is also very cruel, like the punishment meted out to Verdi’s Falstaff. This highly entertaining comedy is also a moving and disturbing burlesque. Scan the QR code with your mobile phone and enjoy the musical highlights of Don Pasquale. M US ICAL

H I G H

LIG HTS OPERA | 49

50 | SEASON 2022—2023

Drawing by Jaume Plensa

La gata perduda AR NAU TOR D E RA I VICTORIA SZPUNBERG N E W LY C R E AT E D C O M M U N I T Y OPE RA PROD UCE D BY TH E LICE U

5 and 7 October 2022—

OPERA IN FIVE ACTS

Based on an original libretto by Victoria Szpunberg World premiere

Stage director Dramaturgy Set design Choreography Costume design

Ricard Soler Mallol Victoria Szpunberg Adrià Pinar Tuixén Benet Montse Amenós in co-creation with Dona Kolors and Top Manta Lighting María de la Cámara and Gabriel Paré (Cube.bz) Video Miquel Àngel Raió Production Gran Teatre del Liceu

MAGNATE Pau Armengol ARQUITECT Rocío Martínez HEALER Marta Infante DETECTIVE Albert Casals THE CAT Dianne Ico

Amateur choirs of the Raval, Agrupació coral i recreativa Les Flors de Maig, Cor de dones de Xamfrà, Cor Drassanes, Cor Turull, Dona Gospel, Grup Mon Raval, KorraVal Evolution, Kudyapi Children’s Choir, Musicals’ Choir, Societat Coral El Girasol, TrencaCors.

Choir Cristina Colomer coordinator Orquestra del Conservatori del Liceu Músics del Taller de Músics

Conductor Alfons Reverté Participating and collaborating organizations: Arnau Itinerant; Arrels Fundació; Associació Amics de La Rambla; Associació Carabutsí; Associació Institut de Promoció de la Cultura Catalana (AIPCC); Associació Intercultural Diàlegs de Dona; Ateneu del Raval; Banc de Recursos Mancomunats de Ciutat Vella; Bar Makinavaja; Barris en dansa; Biblioteca Andreu Nin; Biblioteca de Sant Pau-Santa Creu; CAP Drassanes; CAP Raval Nord; Casal de Barri del Raval; Casal dels Infants; Casals Municipals de Gent Gran J. Trueta i J. Tarradellas; Centre de Cultura Contemporània de Barcelona (CCCB); Centre de Dia Dar Chabab; Centre Ocupacional Sínia; Charo de la Calle; Colectivo La Llama; Concept Deco; Conservatori del Liceu; Cooperativa Colèctic; Crea Dones; Diari El miradors dels immigrants; Districte de Ciutat Vella; El gecko con botas; El lloc de la dona (Dona Gospel i Dona Kolors); Escola Collaso i Gil; Escola de músics i JPC; Escola Massana. Centre d’art i disseny; Espai Mer; Estel Tàpia; Federació d’Associacions de Comerç i Entitats del Raval “Eix Comercial del Raval”; Filmoteca de Catalunya; Fundació Tot Raval; Fundació Surt; Hajar Hoummi; IES Milà i Fontanals; IES Miquel Tarradell; Impremta Badia; IMF-CSIC; Impulsem SCCL; Isabel Gutsens; La Interferència; Mary Grace Hernández; Museu d’ARt Contemporani de Barcelona (MACBA); Mercat de la Boqueria; Museu Marítim de Barcelona; Najat Essafi; Periòdic El Raval; Ràdio Rambles; Servei de mediació comunitària i intercultural de Ciutat Vella; SomAtents; Taller de música, cos i ment; Taller de Músics; Universitat de Barcelona. Facultat de Geografia i Història; Xamfrà, Centre de música i escena del Raval. The Lost Cat is part of the European project TRACTION, Opera Co-creation for a Social Transformation, which uses technological innovation to put opera within closer reach of various communities.

OCTOBER 2022

Turns

Prices

WEDNESDAY 5

19 h

—

From 10 to 25 €

FRIDAY 7

19 h

—

Ftom 10 to 25 €

Approximate running time: 2 h 5 min

OPERA | 51

he Raval district, where the Gran Teatre del Liceu stands, has more associations in proportion to its area than any other place in Europe.

Since one of the Liceu’s vocations, as a cultural emblem of our country, is to be of service to its neighbours, it has teamed up with local associations to produce a participative, co-created opera and strengthen its bonds with the residents. This is the background to La gata perduda (The lost cat), the novel operatic project entailing

three years of major collective efforts which will enable the Raval district to enter the Liceu. With music by Arnau Tordera, guitarist, vocalist and leader of the group Obeses, and a text by Victoria Szpunberg, it is something between an opera and a musical and includes snatches of the musical styles from all over the world which sound out so often in the streets. The vital, almost chaotic nature of the Raval makes it the perfect counterpoint to the establishment world, while the Apollonian-Dyonisian contrast between the orderly Eixample

La gata perduda AR NAU TOR D E RA I VICTOR IA S Z PU N B E RG

52 | SEASON 2022—2023

Librettist

Stage director

VICTORIA SZPUNBERG

ARNAU TORDERA I

Dramatist and professor of dramaturgy at the Institut del Teatre and the Escola Superior de Coreografia in Barcelona. She has worked with various choreographers and written dramatic works and theatrical adaptations, as well as acting as stage director and writing for the radio and sound installations. Her first undertaking at the Gran Teatre del Liceu was Sis solos soles in the 2020/21 season.

Tordera studied composition at the Escola Superior de Música de Catalunya under Albert Guinovart, the classical and electric guitar at the Conservatori de Vic and Taller de Músics, respectively, and singing at the Escola Aules with Daniel Anglès. His first appearance at the Gran Teatre del Liceu was in Off Liceu – Diàlegs musicals in the 2017/18 season.

Composer

RICARD S O L E R M A L LO L

ALFONS REVERTÉ

Stage director and dramatist. He has staged over a dozen shows of various types: conventional drama, street theatre, circus and musical drama. His recent undertakings include Intersections (Montreal, 2019) and Fuenteovejuna, breve tratado sobre las ovejas domésticas, a contemporary take on Lope de Vega’s classical play. This is his first engagement as stage director at the Gran Teatre del Liceu.

Reverté, a member of the Orquestra Simfònica de Barceona i Nacional de Catalunya (OBC) and of several chamber ensembles, is also the music and artistic director of the Orquestra Simfònica Julià Carbonell de les Terres de Lleida. His first appearance at the Gran Teatre del Liceu was in the 2010/11 season with El retablo de Maese Pedro.

district nearby and the labyrinthine Raval could not be sharper. Despite efforts to spruce it up and rationalize it, the Raval remains an inner-city district with a strong spirit of resistance. The opera puts the spotlight on the anonymous citizens with hybrid identities who live there side by side and whose anecdotes, experiences, narratives, dreams and preoccupations provided the input to the libretto. La gata perduda talks of the struggle of a neighbourhood which refuses to be manipulated, a united district which rebels against the powers that be and is itself a leading character in the opera, played by the joint local amateur choirs. Round about the Raval several characters appear who want to speculate and use it to promote their own interests: the Magnate, a man with a secret, surveys it from the upper part of the city and enlists the help of a healer, an architect and a detective to resolve the tangle of

Conductor

problems that are opposed to his interests. The Cat undergoes a transformation in the course of the opera: she decides to be free, refuses to tolerate abuse, and embodies hope. In this project more than ever before the Liceu acts as a mediator and La gata perduda is the ideal medium for giving diversity a voice. It is also a veritable path towards individual integration and development. Colaborate with #sumapelraval. sumapelraval.org Our special thanks to the Fundació Tot Raval.

OPERA | 53

54 | SEASON 2022—2023

Drawing by Jaume Plensa

Il trovatore GIUSEPPE VERDI

From 26 october— to 8 november 2022

OPERA IN FOUR ACTS

COUNT Juan Jesús Rodríguez | 27 and DI LUNA 30 October, 2, 5 and 7 November

Libretto by Salvadore Cammarano and Emanuele Bardare   World premiere: 19/1/1853 at the Teatro Apollo in Rome   Barcelona premiere: 20/5/1854 at the Gran Teatre del Liceu   Last Liceu performance: 4/10/2020, in concert version Total number of Liceu performances: 286

Stage director Set design Costume design Lighting Production

Àlex Ollé Alfons Flores Lluc Castells Urs Schönebaum Opéra national de Paris and Dutch National Opera (Amsterdam)

Àngel Òdena | 26, 28 and 31 October, 3, 6 and 8 November LEONORA Saioa Hernández | 27 and 30

October, 2, 5 and 7 November   Hibla Gerzmava | 26, 28 and 31 October, 3, 6 and 8 November AZUCENA Ksenia Dudnikova | 27 and 30

October, 2, 5 and 7 November   Judit Kutasi | 26, 28 and 31 October, 3, 6 and 8 November   MANRICO Vittorio Grigolo | 27 and 30

October, 2, 5 and 7 November   Yonghoon Lee | 26, 28 and 31 October, 3, 6 and 8 November FERRANDO Gianluca Buratto | 27 and 30

October, 2, 5 and 7 November   Krzysztof Baczyk | 26, 28 and 31 October, 3, 6 and 8 November

OCTOBER 2022 WEDNESDAY 26

19 h

#LICEUNDER35

20 €

THURSDAY 27

19 h

From 15 to 278 €

FRIDAY 28

19 h

From 15 to 278 €

SUNDAY 30

18 h

From 15 to 278 €

MONDAY 31

19 h

From 14 to 250 €

WEDNESDAY 2

19 h

From 15 to 278 €

THURSDAY 3

19 h

From 15 to 278 €

SATURDAY 5

19 h

From 15 to 278 €

SUNDAY 6

17 h

From 15 to 278 €

NOVEMBER 2022

MONDAY 7

19 h

From 15 to 278 €

TUESDAY 8*

19 h

From 15 to 278 €

INES María Zapata RUIZ Antoni Lliteres

Chorus of the Gran Teatre del Liceu Pablo Assante, conductor Symphony Orchestra of the Gran Teatre del Liceu Conductor Riccardo Frizza

Approximate running time: 2 h 50 min (*) Function with audio description

OPERA | 55

eonora and Manrico are a quintessentially free and idealistic couple doomed by the jealousy and threats of a powerful man. The sadistically vindictive Count de Luna has one weakness – his obsession for Leonora – while the mysterious Azucena guards a secret which will destroy them all when her scheming turns Leonora into an immortal heroine destined to be sacrificed. The cogs of the drama and the psychological depth, underscored by the radiant, expansive music brimming with imagination, make Il trovatore one of the highlights of the repertory. Sincerity and purity are the salient traits of Leonora, who is played by Saioa Hernández and Hibla Gerzmava.

Il trovatore GIUSEPPE VERDI

Fabio Sartori, Juan Jesús Rodríguez and Ksenia Dudnikova complete the cast of this tale of love and revenge set in 15th-century Aragon, in which the characters become the victims of the gypsy Azucena’s pathological delusions. Àlex Ollé’s production, made for the Opéra de Paris, draws inspiration from the First World War, depicting the consequences of a fratricidal conflict in which irrational acts leave no room for reflection. In this gruelling trench warfare, human beings are abstract, phantasmagorical characters steeped in hatred. A star-studded cast will perform this tragedy, premiered in Rome in 1853 (and at the Liceu in 1854), in which Verdi shows us the weight of the past and the impossibility of escaping it. In this era of anti-racist movements fuelled by the death of George Floyd, this exotic, 19th-century view of minorities serves to denounce the underlying stereotypes which have forged our own gaze. For this is the true vendetta of the tale: «Sei vendicata, o madre!». (You are vindicated, mother!)

JUAN JESÚS RODRÍGUEZ

Baritone COUNT DI LUNA

KSENIA D U D N I K O VA

Scan the QR code with your mobile phone and enjoy the musical highlights of Il trovatore. M US ICAL

H I G H

LIG HTS Mezzosoprano AZUCENA

56 | SEASON 2022—2023

Since his debut in Eugene Onegin in 1994, Rodríguez has sung in leading opera houses the world over. He first visited the Gran Teatre del Liceu for Turandot in the 1999/2000 season and has been back for Il trovatore (2009/10), the Verdi Bicentenary Concerts (2013/14), a concert with Gregory Kunde (2016/17) and Luisa Miller (2018/19).

Her interpretation of the Princesse de Bouillon (Adriana Lecouvreur) at London’s Royal Opera House in 2016 enabled her to launch her career. Roles she has played since then include Eboli (Don Carlos) at the Staatsoper Stuttgart and Carmen at the Semperoper Dresden, in Paris and at the Verona Arena.

SAIOA HERNÁNDEZ

Soprano LEONORA

After her debut as Odabella (Attila) in the start-ofthe-season shows at the Teatro alla Scala in Milan in 2018, she has appeared at venues including London’s Royal Opera House and the Deutsche Oper Berlin. We first saw her at the Gran Teatre del Liceu in La Gioconda in the 2018/19 season.

ÀLEX OLLÉ

Stage director

Ollé, one of the five artistic directors of La Fura dels Baus, is currently artist in residence at the Gran Teatre del Liceu. His first collaboration with the Liceu was D. Q. (Don Quijote en Barcelona) in the 2000/01 season and he has been back for Quartett (2016/17), Tristan und Isolde (2017/18) and La bohème and Pelléas et Mélisande (2021/22).

OPERA | 57

Drawing Jaume Plensa 58 | by SEASON 2022—2023

Cecilia Bartoli in concert FAR I N E LLI AN D H I S TI M E

Saturday 29 October 2022—

he last traces of the presence of the great Cecilia Bartoli at the Gran Teatre del Liceu date back to the 1990/91 and 1993/94 seasons respectively, when she appeared in five performances of the opera Il barbiere di Siviglia and gave a recital accompanied by György Fischer. The wait has been far too long and it is with great satisfaction that we welcome Cecilia Bartoli back to the Liceu for this splendid return visit. The empathy between Cecilia Bartoli and Les Musiciens du Prince is obvious on stage: the idea of founding this period instrument ensemble in 2016 was hers and she is its artistic director. Bartoli prepares a new programme for every performance because she enjoys developing her programmes as much as she enjoys singing them. This one, dedicated to Farinelli and his time, reveals a new facet of her ever-renewed talent, which she reveals on stage in the light-hearted manner we know so well. That Carlo Broschi, better known as Farinelli (1705-1782), was a highly popular singer is shown by the wealth of wonderfully enthusiastic eye-witness accounts and tributes which have come down to us. A riding accident was apparently the reason used to justify his castration and he completed his studies with

OCTOBER 2022 SATURDAY 29

19 h

Turns

Prices

From 15 to 298 €

Approximate running time: 1 h 30 min

Porpora. Thus this archetype of the castrato, who was to give rise to countless artistic fantasies, was born. After triumphing in Munich and London, he became a legend at the court of Philip V of Spain. The King was passionately fond of Farinelli’s voice, which was the only cure for his morbid melancholy, and every evening for nine years, according to the chroniclers, Farinelli had to sing the same five arias by Hasse, Ariosti and Giacomelli. In time he also became an important counsellor to the King. This fascinating tale was the starting point for the research that went into the programme Cecilia Bartoli is to present at the Liceu, in which she invites us to enjoy the acrobatics and depth, the intensity, subtlety and shades of meaning of her unforgettable voice. Welcome home, Cecilia! Mezzosoprano Cecilia Bartoli Violin Gianluca Capuano Les Musiciens du Prince Monaco Conductor Andrés Gabetta

Scan the QR code with your mobile phone to see the programme of Cecilia Bartoli's recital, Farinelli and his time

CONCERT | 59

Drawing by Jaume Plensa

60 | SEASON 2022—2023

Davidsen, Meier and Theorin Concert Sunday 13 November 2022—

his constellation of legends from the world of Wagner, who is so closely associated with the opera house on the Rambla, marks the Liceu’s 175th anniversary celebrations. Singers from different generations whose careers focus on his brilliant music will perform them for us. Iréne Theorin and Waltraud Meier, the finest and most paradigmatic Isoldes and Brünnhildes of their generation, will be joined by the great Lise Davidsen, who is taking up the torch. And while we dream about hearing her splendid interpretations, she will treat us to some excerpts from Fidelio.

Overtures, arias and scenes from Wagner, Strauss, Beethoven and others. Soprano Lise Davidsen Soprano Waltraud Meier Soprano Iréne Theorin Symphony Orchestra of the Gran Teatre del Liceu Conductor Josep Pons

The scenes from Richard Strauss’s Elektra in Part 2 will bring to mind Patrice Chéreau’s production, which is already a myth in the Liceu’s annals. Our own music director, Josep Pons, will be on the podium for this outstanding programme. A golden page in our history will be written at this concert: make sure you’re there!

NOVEMBER 2022 SUNDAY 13

17 h

Turns

Prices

From 15 to 263 €

Approximate running time: 1 h 30 min

CONCERT | 61

Drawing by Jaume Plensa

IMATGE PLENSA

62 | SEASON 2022—2023

Monteverdi’s Madrigals III Tuesday 22 November 2022—

onteverdi’s madrigals occupy a key chapter in the history of music for, besides being the highspot of the genre itself, their evolution brought a new genre into existence: opera. This concert is the latest stage on our fascinating journey through the nine books of madrigals published between 1587 and 1651, an exercise in proto-opera in which the emotions take centre stage. This season we start with book two: Il secondo libro de madrigali a cinque voci. Published in 1590 when the composer was twenty-two, it reveals his conquest of stylistic purity and visual metaphor, for none of the other books contains such a wealth of images and descriptions of nature (rivers, dawns, breezes, birds, flowers, skies, springs…). Hence the fact that this book, published in the hope of obtaining a contract in Milan, later caught the attention of the court of Mantua and Duke Vincenzo Gonzaga. In it Monteverdi lays down the coordinates of a fascinating equation between sound and vision.

and a leading authority on Monteverdi, guides us along this lush and fascinating path studded with exquisite miniatures. The words and music, the declamation and stile concitato reveal the first attempts to depict human passions through text and harmony. This is Monteverdi’s legacy in condensed form.

C. Monteverdi Il secondo libro de madrigali a cinque voci, 1590 Concerto Italiano Harpsichordist Rinaldo Alessandrini and conductor

Rinaldo Alessandrini, conductor, harpsichordist

NOVEMBER 2022 TUESDAY 22

20 h

Turns

Prices

—

35 €

Approximate running time: 1 h 30 min

CONCERT | 63

64 | SEASON 2022—2023

Drawing by Jaume Plensa

Il trittico I L TA B A R R O SUOR ANG E LICA GIANNI SCHICCHI GIACOMO PUCCINI

From 27 November— to 15 December 2022

uccini can be viewed as the engineer who, by completing the bridge Verdi had begun, connected Italian tradition directly with modernity. In his last works (of which Il Trittico is one), he anticipates the more modern forms of Debussy or Strauss. Puccini sets his own personal seal on each of these operatic gems: a thriller set on the banks of the Seine (Il tabarro), the suffering, death and glorification of a nun whose child has been taken from her (Suor Angelica), and a humorous satire about a will which the relatives try to change by impersonating the deceased (Gianni Schicchi).

Turns

Prices

SUNDAY 27

17 h

From 15 to 298 €

TUESDAY 29

19 h

From 15 to 298 €

NOVEMBER 2022

These three one-act operas seem unconnected. But are they? Giacomo Puccini assembled them under the title Il trittico (the triptych) and they are facets of a single reality. Instead of making a vain attempt to portray the whole world in a long opera, as in an epic novel, he selects three events and brings them together in a work of music which seeks to convey every shade of human emotion with intensity: from implacable coldness of heart to burning passion, via avarice, artfulness or parody. Lotte de Beer’s production from the Bayerische Staatsoper in Munich offers us an incomparable show in which the action unfolds in a single space enclosed by curved walls and the three scores are linked together by the idea of death. Her excellent stage direction makes all the characters shine. The luxury cast, including Lise Davidsen, Ermonela Jaho, Ambrogio Maestri, Daniela Barcellona and Ruth Iniesta, will make this Trittico one of the season’s highlights.

DECEMBER 2022 THURSDAY 1

19 h

From 15 to 298 €

SATURDAY 3

19 h

From 15 to 298 €

MONDAY 5

19 h

From 15 to 298 €

WEDNESDAY 7

19 h

From 14 to 268 €

FRIDAY 9

19 h

From 15 to 298 €

SUNDAY 11

18 h

From 15 to 298 €

TUESDAY 13

19 h

From 15 to 298 €

THURSDAY 15*

19 h

From 15 to 298 €

Approximate running time: 3 h 15 min (*) Function with audio description

OPERA | 65

Il trittico I L TA B A R R O SUOR ANG E LICA GIANNI SCHICCHI GIACOMO PUCCINI

Stage director Set design This version Costume design Lighting Production

LOT T E DE BEER

Lotte de Beer Bernhard Hammer Malte Krasting Jrorine van Beek Alex Brok Bayerische Staatsoper (Munic) Chorus of the Gran Teatre del Liceu Pablo Assante, conductor

Stage director

Symphony Orchestra of the Gran Teatre del Liceu Conductor Susanna Mälkki

De Beer has been appointed Artistic Director of the Volksoper Wien starting in the 2022/23 season. Her current commitments include Aida at the Opéra National de Paris and Le nozze di Figaro at the festival of Aix-en-Provence. The first title she directed at the Gran Teatre del Liceu was Les pêcheurs de perles in the 2018/19 season.

SUSANNA MÄLKKI

Conductor

In her seventh and last season at the head of the Helsinki Philharmonic Orchestra, she will be conducting that orchestra at the Lucerne and Edinburgh Festivals, Carnegie Hall in New York and the Kennedy Centre in Washington. This is her first appearance at the Gran Teatre del Liceu.

Scan the QR code with your mobile phone and enjoy the musical highlights of Il trittico. MOMENTS MUSICALS

66 | SEASON 2022—2023

C L AU

Il tabarro GIACOMO PUCCINI

LISE D AV I D S E N

OPERA IN ONE ACT

Libretto by Giuseppe Adami World premiere: 14/12/1918 at the Metropolitan Opera House of New York   Barcelona premiere 21/12/1948 at the Gran Teatre del Liceu Last Liceu performance: 3/7/2014, in concert version Total number of Liceu performances: 15

Ambrogio Maestri Brandon Jovanovich Pablo García-López Valeriano Lanchas GIORGETTA Lise Davidsen FRUGOLA Mireia Pintó SONG SELLER Antonio Lozano MICHELE LUIGI IL TINCA IL TALPA

Soprano GIORGETTA

Since winning the Operalia and Queen Sonja awards in 2015, she has appeared in the world’s leading opera houses and concert halls in titles such as Ariadne auf Naxos, Elektra, Tannhäuser, The Valkyrie, Fidelio and Peter Grimes. This is her first visit to the Gran Teatre del Liceu.

BRANDON J O VA N O V I C H

YOUNG COUPLE / Ruth Iniesta SOPRANO YOUNG COUPLE / Iván Ayón-Rivas TENOR

Tenor LUIGI

Jovanovich has sung at numerous venues including the New York Metropolitan, Opéra National de Paris, Royal Opera House Covent Garden and Deutsche Oper Berlin, singing roles such as Siegmund (The Valkyrie), the Emperor (The Woman without a Shadow), Énée (Les Troyens), Bacchus (Ariadne auf Naxos), Parsifal and Lohengrin. We first saw him at the Gran Teatre del Liceu in the 2010/11 season in Carmen.

OPERA | 67

Suor Angelica GIACOMO PUCCINI

ERMONELA JAHO

OPERA IN ONE ACT

Libretto by Giovacchino Forzano World premiere: 14/12/1918 at the Metropolitan Opera House of New York    Barcelona premiere 21/12/1948 at the Gran Teatre del Liceu Last Liceu performance 4/7/2014   Total number of Liceu performances: 21

SUOR ANGELICA THE PRINCESS THE ABBESS MONITRESS MISTRESS OF NOVICES SUOR GENOVIEFFA SUOR OSMINA SUOR DOLCINA NURSING SISTER NOVICE

Ermonela Jaho Daniela Barcellona María Luisa Corbacho Mireia Pintó Marta Infante Mercedes Gancedo Carolina Fajardo Berna Perles Laura Vila Mar Morán

Soprano SUOR ANGELICA

DANIELA B A R C E L LO N A

Mezzosoprano THE PRINCESS

68 | SEASON 2022—2023

The prime roles in Albanian-born Jaho’s repertory include Violetta (La traviata), Cio-Cio-San (Madama Butterfly) and Suor Angelica. Her debut at the Gran Teatre del Liceu came in the 2012/13 season in Madama Butterfly. She returned for Otello (2015/16), Turandot (2019/20), and La traviata and Les contes d’Hoffmann (2020/21).

Born in Trieste (Italy), she commenced her studies under Alessandro Vitiello. After carrying off numerous international awards, she made her debut in Tancredi at the Rossini Opera Festival in Pesaro. She first visited the Gran Teatre del Liceu for Semiramide in the 2005/06 season and has returned for a recital (2006/07), a Handel concert (2008/09) and La favorite (2017/18).

Gianni Schicchi GIACOMO PUCCINI

OPERA IN ONE ACT

Libretto by Giovacchino Forzano World premiere: 14/12/1918 at the Metropolitan Opera House of New York    Barcelona premiere 21/12/1948 at the Gran Teatre del Liceu Last Liceu performance 10/11/1987   Total number of Liceu performances: 14

GIANNI SCHICCHI LAURETTA ZITA RINUCCIO

Ambrogio Maestri Ruth Iniesta Daniela Barcellona Iván Ayón-Rivas Antonio Lozano Berna Perles Pau Armengol Stefano Palatchi David Oller Mireia Pintó Luis López Navarro

GHERARDO NELLA BETTO DI SIGNA SIMONE MARCO LA CIESCA MAESTRO SPINELLOCCIO SER AMANTIO Tomeu Bibiloni DI NICOLAO

Baritone GIANNI SCHICCHI

AMBROGIO MAESTRI

RUTH I N I E S TA

Maestri has sung at some of the world’s leading opera houses. He made his debut at the Gran Teatre del Liceu in Aida in the 2007/08 season and returned for Falstaff (2010/11), L’elisir d’amore (2012/13), Tosca (2013/14) and Nabucco (2015/16).

The titles that are part of her repertory include L’elisir d’amore, Don Pasquale, Werther, Falstaff, Les pêcheurs de perles, La donna del lago, La del manojo de rosas, Doña Francisquita and Luna de miel en El Cairo. More recently she has sung Musetta (La bohème) and Lucia (Lucia di Lammermoor). She was first seen at the Gran Teatre del Liceu in Il viaggio a Reims in the 2017/18 season.

Soprano LAURETTA

OPERA | 69

70 | SEASON 2022—2023

Drawing by Jaume Plensa

Tosca GIACOMO PUCCINI NEW LICEU COPRODUCTION

From 4 to 21 January 2023—

FLORIA TOSCA Aleksandra Kurzak | 4, 7,

MELODRAMMA IN THREE ACTS

Libretto by Luigi Illica and Giuseppe Giacosa World premiere: 14/1/1900 at the Teatro Costanzi in Rome Barcelona premiere: 30/3/1902 at the Gran Teatre del Liceu Last Liceu performance: 28/6/2019 Total number of Liceu performances: 191

Stage director Set design Costume design Lighting Paintings Production

JANUARY 2023

10, 13, 16 and 19 January   Maria Agresta | 5, 8, 11, 14, 18 and 21 January Sondra Radvanovsky | 17 and 20 January Monica Zanettin | 12 January

Rafael R. Villalobos Emmanuele Sinisi Rafael R. Villalobos Felipe Ramos Santiago Ydáñez Théâtre Royal de la Monnaie, Gran Teatre del Liceu, Teatro de la Maestranza and Salas del Arenal and Opéra Orchestre National Montpellier Turns

Prices

WEDNESDAY 4

19 h

From 15 to 298 €

THURSDAY 5

18 h

#LICEUNDER35

20 €

SATURDAY 7

19 h

From 15 to 298 €

SUNDAY 8

17 h

From 15 to 293 €

TUESDAY 10

19 h

From 15 to 298 €

WEDNESDAY 11

19 h

From 14 to 264 €

THURSDAY 12

19 h

From 14 to 250 €

FRIDAY 13

19 h

From 15 to 298 €

SATURDAY 14

19 h

From 14 to 264 €

MONDAY 16

19 h

From 15 to 298 €

TUESDAY 17

19 h

From 15 to 298 €

WEDNESDAY 18

19 h

From 15 to 293 €

THURSDAY 19*

19 h

From 15 to 298 €

FRIDAY 20

19 h

From 15 to 298 €

SATURDAY 21

19 h

From 14 to 264 €

MARIO Roberto Alagna | 4, 7, 10, CAVARADOSSI 13, 16 and 19 January

Joseph Calleja | 8, 11, 14, 17 and 20 January Antonio Corianò | 5, 12, 18 and 21 January BARON Evgeny Nikitin | 4, 7, 10, 12, SCARPIA 13, 16 and 19 January

George Gagnidze | 5, 8, 11, 14, 18 and 21 January Luca Salsi | 17 and 20 January CESARE Felipe Bou ANGELOTTI SACRISTAN Jonathan Lemalu SPOLETTA Moisés Marín SCIARRONE Manel Esteve JAILER Milan Perišic SHEPHERD Hugo Bolívar

Chorus of the Gran Teatre del Liceu Pablo Assante, conductor Symphony Orchestra of the Gran Teatre del Liceu Conductor Henrik Nánási

Approximate running time: 2 h 30 min (*) Function with audio description

OPERA | 71

«E avanti a lui tremava tutta Roma», Floria Tosca, end of Act II (Tosca) (And before him, all Rome trembled).

loria and Mario are in love and determined to defend their free love affair. But the combined effects of Floria’s jealousy and religious and political oppression bring all three protagonists to a tragic end. The drama, in which the music highlights the characters’ psychological makeup, is underscored by the fear of God as a tool of political domination and social manipulation. Tosca – here played by Aleksandra Kurzak, Sondra Radvanovsky and Angel Blue – has two sides to her character: sincere piety and sensuality. Roberto Alagna and Joseph Calleja (as Mario Cavaradossi) and Evgeny Nikitin, Luca Salsi and George Gagnidze (as Scarpia) complete the star casts of this thriller of hatred and passion set in Rome under the Napoleonic occupation (June 1800), in which all the main characters perish.

Tosca GIACOMO PUCCINI

72 | SEASON 2022—2023

First performed in Rome in 1900 (in 1902 at the Liceu), Tosca relates how a prima donna’s suspicions determine her lover’s fate. The ageless heroine Tosca is a turn-of-the century femme fatale but also the embodiment of the committed modern woman. She clashes with Scarpia, the ruthless, sadistic police chief who has one fatal weakness: the diva herself. The demoniacal opening chords become the Leitmotiv of their violent exchanges in the second act. This new version, first seen at La Monnaie, was coproduced by the Gran Teatre del Liceu in partnership with other opera houses. In it the Spanish stage director Rafael R. Villalobos highlights the political, moral and social pressure that weighs on the public, drawing parallels with the oppression suffered by Pier Paolo Pasolini (murdered because he was considered an enemy of the government) and the personal torment of Caravaggio, as seen by Santiago Ydáñez.

This same pressure, exerted urbi et orbi by the Vatican, converts the characters into veritable puppets. How can they maintain their faith intact when everything around them is tainted by corruption and despotism? How will Floria Tosca react when the borderline between perverted power and religious dogma becomes blurred? She ultimately leaps into the void, not just physically, but because she needs to escape and preserve her authenticity and freedom. Tosca is beauty face to face with horror and devastation. In a moment of doubt and insecurity, Scarpia cries out: «Tosca, mi fai dimenticare Iddio!» (Tosca, you make me forget God!). Haven’t we all sometimes forgotten who we were? Scan the QR code with your mobile phone and enjoy the musical highlights of Tosca. M US ICAL

H I G H

LIG HTS

Soprano FLORIA TOSCA

ALEKSANDRA KURZAK

ROBERTO ALAGNA

Her repertory includes roles such as Gilda (Rigoletto), Violetta (La traviata), Lucia di Lammermoor, Adina (L’elisir d’amore), Rosina (Il barbiere di Siviglia), Fiorilla (Il turco in Italia) and The Queen of Night (The Magic Flute). We first saw her at the Gran Teatre del Liceu in L’elisir d’amore in the 2012/13 season and she returned for Pagliacci (2019/20).

In his 30-year-long career, Alagna has played over sixty roles in the world’s major opera houses and premiered two contemporary operas that were specially written for him, notably Le dernier jour d’un condamné by David Alagna. We first saw him at the Gran Teatre del Liceu in La bohème in the 1991/92 season. He has returned several times since.

Tenor MARIO CAVARADOSSI

MARIA A G R E S TA

EVGENY NIKITIN

Since her professional debut in 2007, Maria Agresta has sung at numerous venues worldwide such as the New York Metropolitan, the Teatro alla Scala in Milan, the Royal Opera House Covent Garden, the Teatro dell’Opera di Roma, the Teatro di San Carlo in Naples, the Verona Arena and the Teatro La Fenice in Venice.

Nikitin has appeared at venues the world over, among them the New York Metropolitan – mainly for Wagner operas –, the Opéra National de Paris, Bayerische Staatsoper in Munich, Mariinsky Theatre in Saint Petersburg and the festivals of Aix-en-Provence, Verbier and Salzburg. He made his debut at the Gran Teatre del Liceu in Il prigionero (2013/14).

Bass-baritone BARON SCARPIA

OPERA | 73

F O R M Y FAT H E R I’m going to live without you as I learned once to live without my mother. You think I don’t remember that? I’ve spent my whole life trying to remember. Now, after so much solitude, death doesn’t frighten me, not yours, not mine either. And those words, the last time, Have no power over me. I know intense love always leads to mourning. For once, your body doesn’t frighten me. From time to time, I run my hand over your face lightly, like a dustcloth. What can shock me now? I feel no coldness that can’t be explained. Against your cheek, my hand is warm and full of tenderness. LOU I S E G LÜCK

(«Metamorphosis», The Triumph of Achilles)

74 | SEASON 2022—2023

Jungle Book reimagined AK RAM K HAN COM PANY

From 25 to 30 January 2023—

kram Khan has always felt very close to The Jungle Book, not only because he played Mowgli in an Indian dance production in his youth but because of the three profound lessons it contains: all species on our planet share the same life; humans, animals and nature depend on one another; and the sense of family and our need to belong are of vital importance. The period in which we live poses unprecedented threats to all the world’s species and we no longer remember how closely we are linked to the planet that is our home. We need to take a more respectful stance and remember all we have forgotten. Telling these tales on stage through the magic of dance and music is one of the most profound and time-honoured ways of doing it. This new production by the great choreographer Khan arises from his reading of the original stories by Rudyard Kipling, which carry a powerful message of relevance to the present-day world. Khan goes beyond words, using gestures, movements and video projections to make us reflect about the effects of climate change.

JANUARY 2023

Turns

Prices

From 10 to 197 €

19 h

From 10 to 197 €

17 h

DANSA

From 10 to 197 €

21.30 h

From 10 to 197 €

19 h

From 10 to 197 €

WEDNESDAY 25

19 h

THURSDAY 26 SATURDAY 28 SATURDAY 28 MONDAY 30

His is a courageous company which changes the rules of the game. For it might not be the end of the world, but it could be the end of our species! Director and choreographer Creative associate and coach Writer Dramaturgical advisor Composer Sound designer Lighting designer Visual stage designer Art Direction and Director of Animation Producer/Director of Video Design Rotoscope artist and animator

Akram Khan Mavin Khoo Tariq Jordan Sharon Clark Jocelyn Pook Gareth Fry Michael Hulls Miriam Buether Adam Smith (YeastCulture) Nick Hillel (YeastCulture) Naaman Azhari, Natasza Cetner, Edson R. Bazzarin

Coproduced by: Curve, Leicester; Birmingham Hippodrome; Edinburgh International Festival; Esplanade – Theatres on the Bay, Singapore; Festspielhaus, St. Pölten; Internationaal Theatre, Amsterdam; Maison de la Danse – Pôle européen de création, Lyon; National Arts Centre, Canada; New Vision Arts Festival, Hong Kong; Orsolina28; Pfalzbau Bühnen – Theatre im Pfalzbau, Ludwigshafen; Romaeuropa Festival; Sadler’s Wells, London; Stanford Live, Stanford University; Teatros del Canal, Madrid; Théâtre de Caen; Théâtre de la Ville, Paris.

FUNDACIÓN LOEWE sponsors the Dance Circle

DANCE | 75

FOR MY SISTER Far away my sister is moving in her crib. The dead ones are like that, always the last to quiet. Because, however long they lie in the earth, they will not learn to speak but remain uncertainly pressing against the wooden bars, so small the leaves hold them down. Now, if she had a voice, The cries of hunger would be beginning. I should go to her; perhaps if I sang very softly, her skin so white, her head covered with black feathers... LOU I S E G LÜCK

(Descending figure)

76 | SEASON 2022—2023

Tenor Viñas Contest 60th EDITION OF THE CONTEST

27 and 29 january 2023—

he tenor Francesc Viñas had always wanted to set up a non-profit organization to assist young singers at the start of their careers who were experiencing the same difficulties he had once known himself. His project was brought to fruition by Dr Jacint Vilardell, who set up the Tenor Viñas International Singing Contest in 1963. The Gran Teatre del Liceu associated itself directly with the contest, enlisting the cooperation of some of the world’s leading opera houses. Over 13,500 contestants have taken part in the fifty-nine editions held to date, which have given many singers who have been, or still are, outstanding figures on the international opera scene a chance to make themselves known.

Symphony Orchestra of the Gran Teatre del Liceu Conductor Luis Miguel Méndez

This year, as we celebrate the Contest’s 60th anniversary, we are confident the outcome will be as positive as ever.

Turns

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15 h

—

From 10 to 15 €

18 h

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From 10 to 29 €

JANUARY 2023 FINAL TEST FRIDAY 27 FINAL CONCERT SUNDAY 29

CONCERT | 77

78 | SEASON 2022—2023

Drawing by Jaume Plensa

Macbeth GIUSEPPE VERDI A NEW LICEU PRODUCTION W I T H C R E AT I O N S BY J AU M E P L E N S A

From 16 February— to 3 March 2023

MELODRAMMA IN FOUR ACTS.

Libretto by Francesco Maria Piave World premieres:14/3/1847 at the Teatro della Pergola in Florence (first version) and 21/4/1865 at the Théâtre Lyrique de Paris (second version) Barcelona premiere: 1/7/1848 at the Gran Teatre del Liceu Last Liceu performance: 23/10/2016 Total number of Liceu performances: 117

Stage director Set and costume design Choreography Lighting Assistant stage director Assistant set designer Assistant costume designer Production

Jaume Plensa Jaume Plensa Antonio Ruz Urs Schönebaum Leo Castaldi

MACBETH Luca Salsi | 16, 19, 22, 25

and 28 February Carlos Álvarez | 18, 20, 23 and 26 February and 1 and 3 March BANCO Erwin Schrott | 16, 19, 22,

25 and 28 February Simón Orfila | 18, 23 and 26 February and 1 and 3 March LADY MACBETH Sondra Radvanovsky | 16,

19, 22, 25 and 28 February Anna Pirozzi | 18, 20, 23 and 26 February and 1 and 3 March LADY-IN-WAITING Gemma Coma-Alabert

Marc Salicrú

MACDUFF Francesco Pio Galasso | 16,

Nadia Balada Gran Teatre del Liceu

19, 22, 25 and 28 February Celso Albelo | 18, 20, 23 and 26 February and 1 and 3 March MALCOLM Fabian Lara

FEBRUARY 2023 THURSDAY 16

Turns

Prices

19 h

From 15 to 293 €

SATURDAY 18

19 h

From 14 to 264 €

SUNDAY 19

17 h

From 15 to 293 €

MONDAY 20

19 h

From 15 to 293 € From 15 to 293 €

WEDNESDAY 22

19 h

THURSDAY 23

19 h

From 15 to 293 €

SATURDAY 25

19 h

From 15 to 293 €

SUNDAY 26

18 h

From 15 to 293 €

TUESDAY 28

19 h

From 15 to 293 €

MARCH 2023

Turns

Prices

WEDNESDAY 1*

19 h

From 14 to 264 €

FRIDAY 3

19 h

From 15 to 293 €

DOCTOR / David Lagares SERVANT / ASSASSIN / HERALD

Chorus of the Gran Teatre del Liceu Pablo Assante, conductor

Symphony Orchestra of the Gran Teatre del Liceu Conductor Josep Pons

Approximate running time: 3 h 20 min (*) Function with audio description

OPERA | 79

Macbeth GIUSEPPE VERDI

«The sleeping and the dead are but as pictures. ’Tis the eye of childhood that fears a painted devil!» William Shakespeare (Macbeth, Act II, Scene II)

dream so when Gerard Mortier asked him at Salzburg what opera he would like to direct, he did not hesitate. He has had to wait 25 years for the dream to come true.

When the witches foretell that Macbeth will be the next king of Scotland, Lady Macbeth gives destiny a hand by murdering the present King. But the witches’ prophecies turn Macbeth into the bloody assassin of friends and rivals until, alone and furious, he faces his last battle and dies. A team of singers who combine dramatic intensity with vocal authority (Luca Salsi / Carlos Álvarez and Sondra Radvanovsky /

erdi’s love affair with Shakespeare began with Macbeth, which he considered «one of the greatest human creations». He revered the Bard’s works and this was the first opera he based on them. His aim was to turn his tragedy into «something out of the ordinary». For Jaume Plensa, capturing Verdi and Shakespeare’s Macbeth was a youthful 80 | SEASON 2022—2023

Baritone MACBETH

Soprano LADY MACBETH

LUCA SALSI

CA R LO S Á LVA R E Z

Salsi graduated in singing from the Conservatorio Arrigo Boito in Parma, where his tutor was soprano Lucetta Bizza, and undertook further studies with the baritone Carlo Meliciani. He has sung in opera houses and concert halls all over the world. He made his debut at the Gran Teatre del Liceu in La forza del destino in the 2012/13 season and returned for Nabucco (2015/16) and Macbeth (2016/17).

Since his 1990 debut, Álvarez has sung at the world’s leading opera houses such as the Teatro alla Scala in Milan, the New York Metropolitan, the Wiener Staatsoper and the Opéra national de Paris. At the Gran Teatre del Liceu he has appeared in Rigoletto and Don Giovanni in the 2016/17 season, Un ballo in maschera and Andrea Chénier (2017/18), Hamlet in concert version (2018/19), and Otello (2020/21).

Baritone MACBETH

SONDRA R A D VA N O V S K Y

ANNA PIROZZI

Radvanovsky trained at New York’s Metropolitan Opera under the Lindemann Young Artist Development Program. After drawing attention for her interpretation of Antonia (Les contes d’Hoffmann), the doors of the world’s leading opera houses opened to her. Her debut at the Gran Teatre del Liceu came in the 2011/12 season in Aida.

Pirozzi made her professional debut in 2012 at the Teatro Regio in Turin as Amelia (Un ballo in maschera) and sang Abigaille (Nabucco) at the Salzburg Festival with Riccardo Muti on the podium. She has appeared in the foremost European opera houses. She made her debut at the Gran Teatre del Liceu in the 2017/18 season in a concert version of Attila.

Soprano LADY MACBETH

Anna Pirozzi) take on the roles of the honest general driven to murder and deceit and his boundlessly ambitious wife. One of the most fascinating sentences in the entire work —«Sleep no more»— shows us that Macbeth, besides becoming a killer, deprives himself of the possibility of sleeping peacefully for the rest of his life. Jaume Plensa, who has been haunted by these words since childhood, will set his entire iconographic universe in movement, creating a powerful aesthetic and ritual presence that makes the ideal setting for this sombre, theatrical tragedy, full of diabolical energy, performed to music masterfully conducted by Maestro Josep Pons. Scan the QR code with your mobile phone and enjoy the musical highlights of Macbeth. M US ICAL

H I G H

LIG HTS OPERA | 81

82 | SEASON 2022—2023

Drawing by Jaume Plensa

Alcina (CONCERT VERSION) GEORG FRIEDRICH HÄNDEL

friday 17 february 2023—

OPERA IN THREE ACTS

Libretto by Antonio Marchi basat en l’Orlando Furioso de Ludovico Ariosto World premiere: 16/4/1735 at the Royal Opera House in London   Barcelona premiere: 9/6/1943 at the Teatre Tívoli Liceu premiere: 21/3/1999 at the Teatre Nacional de Catalunya (Liceu season) Last Liceu performance: 21/3/1999   Total number of Liceu performances: 6

ALCINA Magdalena Kožená MORGANA Erin Morley BRADAMANTE Elizabeth DeShong RUGGIERO Anna Bonitatibus ORONTE Valerio Contaldo MELISSO Alex Rosen

Les Musiciens du Louvre Conductor Marc Minkowski

FEBRUARY 2023 FRIDAY 17

19 h

Turns

Prices

From 15 to 263 €

Approximate running time: 3 h 50 min

OPERA (C. V.) | 83

he plot of Alcina, one Handel’s most popular and inspired operas, came from the epic poem Orlando furioso by Ludovico Ariosto. Il caro Sassone («The dear Saxon», as the composer was nicknamed) filled it with fantasy and fine melodies to produce a highly polished work that ranks alongside Orlando and Ariodante. First performed at London’s Covent Garden in 1735, it tells a tale full of Homeric overtones about the splendidly portrayed sorceress Alcina who lures heroes to her island to seduce them and make them forget their homelands. Bradamante’s struggle to liberate Ruggiero from her still captivates us today. Alcina abounds in some of the most beautiful pages Handel ever wrote and the cast for the first night in England included such stars as Carestini and Negri.

Are the witch’s feelings for Ruggiero mere perversion or unbridled passion? Handel in his genius made Alcina one of the most complete and well characterized soprano roles in opera, going beyond her supernatural dimension to portray her as a deeply human, moving woman who suffers. The vanquished sorceress acquires new psychological depth in each successive aria and inspires us with a strange compassion. Alcina, a mirage-like drama of love and passion, seems tailor-made to encourage vocal fireworks and develop the characters’ personalities. The French conductor Marc Minkowski is a renowned specialist of Handel with a flair for bringing out every shade of colour, however subtle or ambiguous. His will be an ambitious reading of the work which blends feelings,

Alcina GEORG FRIEDRICH HÄNDEL

84 | SEASON 2022—2023

magic and treachery with a spark of humour. Thanks to the outstanding array of soloists and his own ensemble, Les Musiciens du Louvre, Minkowski will reveal the hidden emotions and desires with all the expressiveness Handel wished for. «Tornami a vagheggiar» (Come back to charm me). MAGDALENA KOŽENÁ

Mezzosoprano ALCINA

Soprano MORGANA

Kožená pursued singing and piano studies at Brno Conservatory and at the Academy of Performing Arts in Bratislava under Eva Bláhová. In 2003 she made the first of many appearances at the New York Metropolitan as Cherubino (Le nozze di Figaro). Her debut at the Gran Teatre del Liceu came in the 2009/10 season in a Vivaldi concert.

ERIN MORLEY

ANNA B O N I TAT I B U S

She has sung at the Bayerische Staatsoper in Munich, the Wiener Staatsoper, Opéra National de Paris, Santa Fe Opera, the LA Opera in Los Angeles, the New York Metropolitan, and the Glyndebourne Festival. She has made over a hundred appearances in New York and taken part in five live broadcasts. This is her first visit to the Gran Teatre del Liceu.

She made her debut at the Teatro alla Scala in Milan in 1999 in Don Giovanni, conducted by Riccardo Muti. Since then she has sung in over fifty operas ranging from early Baroque titles to Italian bel canto. Recently she visited the Staatsoper Hamburg for the first time for Agrippina and toured Europe with Il Pomo d’Oro and Philippe Jaroussky in Radamisto. She first appeared at the Gran Teatre del Liceu in Le nozze di Figaro in the 2016/17 season.

Mezzosoprano RUGGIERO

ELIZABETH DESHONG

Mezzosoprano BRADAMANTE

She initially studied the piano but later concentrated on singing at Oberlin College (United States). She has played several roles at the New York Metropolitan, including Arsace (Semiramide) and Suzuki (Madama Butterfly). In 2010 she received the Washington National Opera’s award for her interpretation of The Composer (Ariadne auf Naxos).

Scan the QR code with your mobile phone and enjoy the musical highlights of Alcina. M US ICAL

H I G H

LIG HTS

OPERA (C. V.) | 85

7 DEATHS

86 | SEASON 2022—2023

Drawing by Jaume Plensa

7 Deaths of Maria Callas MARINA ABRAMOVIC

From 9 to 11 March 2023—

Scenes from operas by Vincenzo Bellini, Georges Bizet, Gaetano Donizetti, Giacomo Puccini and Giuseppe Verdi

Libretto by Petter Skavlan and Marina Abramovic World premiere 01/09/2020 at the Bayerische Staatsoper in Munich Liceu premiere

Operatic project Music Stage director Audiovisual director Dramaturgy Costumes Lighting

Marina Abramovic Marko Nikodijevic Marina Abramovic Nabil Elderkin Benedikt Stampfli Riccardo Tisci Urs Schönebaum

Sound Luka Kozlovacki Audiovisuals Marco Brambilla for the intermezzi Actress and live Marina Abramovic performance Actor in the Willem Dafoe audiovisual

Gilda Fiume Vanessa Goikoetxea Benedetta Torre Antonia Ahyoung Kim CARMEN Rinat Shaham LUCIA ASHTON Leonor Bonilla NORMA Marta Mathéu

VIOLETTA VALÉRY FLORIA TOSCA DESDEMONA CIO-CIO-SAN

Chorus of the Gran Teatre del Liceu Pablo Assante, conductor Symphony Orchestra of the Gran Teatre del Liceu Conductor Antonio Méndez

Coproduction Bayerische Staatsoper, Munich; Greek National Opera, Athens; Deutsche Oper de Berlin; Opéra National de Paris; Teatro San Carlo, Naples

MARCH 2023

Turns

Prices

From 15 to 263 €

19 h

From 15 to 263 €

19 h

From 15 to 263 €

THURSDAY 9

19 h

FRIDAY 10 SATURDAY 11

Approximate running time: 1 h 30 min

OPERA | 87

he Serbian artist Marina Abramovic is the mother of performance art. Behind her lies a splendid career spanning over four decades which has contributed greatly to redefining the image of the female body in the 20th and 21st centuries. Her works are autobiographical and draw on the suffering caused by disillusionment and dramatic love affairs. As a result they find a special echo in the life of the great diva Maria Callas (1923-1977), who embodied mortal passions in both opera and private life. Abramovic presents this show, which combines opera, live art, performance art and video creation, to mark the centenary of the birth of Callas, also known as La Divina Assoluta. Entitled The Seven Deaths of Maria Callas, it contains some of the iconic arias which studded the Greek soprano’s career and recall the countless women «sacrificed» by 19th century

7 Deaths of Maria Callas MARINA ABRAMOVIC

88 | SEASON 2022—2023

composers in their toy theatres where women were invariably the victims. Abramovic’s passion, obsession and empathy with the myth and tragedy of the famous virtuoso soprano reach their peak in this new immersive experience based on the premature deaths of seven characters – ranging from the abandoned bride to the deserted mistress – who are also self-portraits of the artist who plays them. Callas’s complex personal life was marked by lost loves and a lonely death and she lives again before our eyes in these reinterpretations of death scenes. In each traumatic moment of loss, love and longing, Abramovic honours and inhabits Callas’s own spirit, suggesting the possibility of reimagining and redefining these roles for future generations of singers.

Stage director

Soprano LUCIA ASHTON

MARINA ABRAMOVIC

VA N E S S A GOIKOETXEA

Since the start of her career in the early 1970s, Abramovic has been a pioneer of performance art, putting her own mental and physical limits to the test by enduring pain, exhaustion and danger in search of emotional and spiritual transformation. In 1997 she was awarded the Golden Lion for the best artist at the Venice Biennale.

As a member of the company of the Semperoper Dresden since the 2011/12 season, Goikoetxea has sung Alcina, Musetta (La bohème), Rachel (La juive), Hanna Glawari (Die lustige Witwe) and The Vixen (The Cunning Little Vixen). She made her debut at the Gran Teatre del Liceu in the 2012/13 season in Rusalka and has been back several times, most recently in La clemenza di Tito (2019/20).

Soprano FLORIA TOSCA

LEONOR BONILLA

M A R TA M AT H É U

After studying Spanish dancing, Bonilla switched to singing in 2010. In 2014 she made her operatic debut in La clemenza di Tito in Valladolid. She first visited the Gran Teatre del Liceu in the 2017/18 season for Il viaggio a Reims and returned for Don Giovanni (2020/21).

Her career spans the fields of opera, oratorio and Lieder. At the Gran Teatre del Liceu she has sung in various concerts including El pessebre (2015/16) and two editions of Off Liceu-Diàlegs Musicals (2016/17). She will debut an operatic role on stage with Norma (2021/22).

Soprano NORMA

OPERA | 89

ALEXINA

90 | SEASON 2022—2023

Drawing by Jaume Plensa

Alexina B. RAQUEL GARCÍA-TOMÁS WORLD PREMIERE OF THE OPERA BY RAQU E L GARCÍA-TOMÁS WITH S TA G E D I R E C T I O N B Y M A R TA PA Z O S

From 18 to 22 March 2023—

Libretto by: Irène Gayraud, inspired by the memoirs of Hérculine Barbin (also known as Alexina B.), Mes Souvenirs (France, 1868). World premiere

Stage director Set design Costume design Choreography Lighting Video Sound Production

Marta Pazos Max Glaenzel Silvia Delagneau María Cabeza de Vaca Nuno Meira Raquel García-Tomás Sixto Cámara Gran Teatre del Liceu

ALEXINA BARBIN Lídia Vinyes-Curtis ABEL BARBIN SARA Alicia Amo POLICEMAN / Elena Copons MADAME P. / ALEXINA’S MOTHER / SISTER MARIE DES ANGES DOCTOR GOUJON / Xavier Sabata THE DOCTOR / DOCTOR H./ THE ABBOT/ MONSEIGNEUR/ THE JUDGE YOUNG ALEXINA / LÉA / Mar Esteve CONVENT PUPIL CONVENT PUPILS Cor Vivaldi-Petits

Cantors de Catalunya Òscar Boada, conductor Symphony Orchestra of the Gran Teatre del Liceu Conductor Josep Pons

MARCH 2023

Turns

Prices From 9 to 127 €

SATURDAY 18

19 h

MONDAY 20

19 h

#LICEUNDER35

20 €

TUESDAY 21

19 h

From 10 to 141 €

WEDNESDAY 22

19 h

From 10 to 141 €

Approximate running time: 2 h

Project carried out thanks to the Fundación BBVA’s Leonardo Grant for Cultural Researchers and Creators, 2020 The Fundación BBVA takes no responsibility for the opinions, comments or contents included in this project or for its results, which are the entire and absolute responsibility of the authors.

OPERA | 91

Alexina B. RAQUEL GARCÍA-TOMÁS

“I am twenty-five and, though I am still young, I am undoubtedly approaching the fatal end of my existence. I have suffered deeply, and I have suffered alone, abandoned by everyone!”, Mes souvenirs, Herculine Barbin.

nspiration for this opera comes from the story of Adélaïde Herculine Barbin, also known as Alexina B., an intersex person born in France in 1838. Her testimony provides moving and fertile input for the sound universe of Raquel García Tomás, the winner of the 2020 National Award for Music. 92 | SEASON 2022—2023

Alexina was assigned the female sex at birth and grew up in a convent. Later, when working as a teacher, she fell in love with a female companion. In a society where accepting differences was a complex matter and heterosexuality was the norm, Alexina re-defined herself as a man and changed her legal sex and identity to become Abel Barbin. Unable to adapt, however, she was reduced to solitude and ultimately killed herself. This striking tale forces us to examine ourselves as a community and to see the damage our condemnations cause. It reveals the violence of religious and medical

institutions and of a heteronormative society which permits neither self-assertion nor self-determination outside gender and sex binarism. With a libretto by Irène Gayraud and sets by Marta Pazos (who worked with García-Tomás on Je suis narcissiste, 2019), this three-act opera tells of a struggle for identity which, for Alexina, ends in a veritable leap into the void.

RAQUEL GARCÍA-TOMÁS

Composer

Countertenor DOCTOR GOUJON THE DOCTOR / DOCTOR H. THE ABBOT MONSEIGNEUR THE JUDGE

Librettist

García-Tomás, a specialist in interdisciplinary creation, holds a doctor’s degree from the Royal College of Music in London. She received the Premio Nacional de Música in 2020 for «the interdisciplinary, innovative and daring nature of her highly individual compositional idiom». She first came to the Gran Teatre del Liceu with Sis solos soles in the 2020/21 season.

X AV I E R S A B ATA

LIDIA VINYES-CURTIS

He began his singing studies at the Escola Superior de Música de Catalunya (ESMUC) and completed them at the Hochschule für Musik in Karlsruhe. His repertory includes Monteverdi, Cavalli, the Baroque era in general and contemporary opera. He made his debut at the Gran Teatre del Liceu in the 2008/09 season in L’incoronazione di Poppea.

She frequently performs as a soloist with conductors such as Helmuth Rilling, Sigiswald Kuijken and Kay Johannsen, and has sung in Bach’s Passions and Cantatas in Moscow, Leipzig, Hong Kong, Germany, Belgium and Japan. She recently appeared in Beethoven’s Ninth Symphony, conducted by Gustavo Dudamel, and at the Auditori de Barcelona with Kazushi Ono. We first heard her at the Gran Teatre del Liceu in Benvenuto Cellini in the 2015/16 season.

Soprano ALEXINA B.

IRÈNE G AY R A U D

M A R TA PA Z O S

Writer, translator and academic. She has published four volumes of poetry – À distance de souffle, l’air (2014), Voltes (2016), Point d’eau (2017) and Téphra (2019) – and a novel entitled Le livre des incompris (2019). Some of her poems have been published in journals in France and elsewhere, and in collective publications. This is her first visit to the Gran Teatre del Liceu.

After graduating in Fine Arts from the University of Barcelona, she studied in Italy at the Scuola Cònia run by the Socìetas Raffaello Sanzio and directed by Claudia Castellucci. She then founded her own company, Voadora, with which she has produced some of her most emblematic works. This is her first visit to the Gran Teatre del Liceu.

Stage director

M US ICAL

Scan the QR code with your mobile phone and enjoy musical highlights from the works of the composer Raquel García Tomás.

H I G H

LIG HTS

OPERA | 93

IMATGE PLENSA

94 | SEASON 2022—2023

Drawing by Jaume Plensa

Winterreise seen by Antonio López A T T H E ” L A M O D E L ” P R I S O N

From 23 to 25 March 2023—

he painter, sculptor and engraver Antonio López, born in Tomelloso (Castile-La Mancha), has been invited by the Liceu to take part for the first time in designing a stage set. Throughout his career, López has used his highly individual technique to depict themes such as the passing of time, human beings and their environment, still lifes and childhood. Here he sets up a dialogue between his artistic works and the world of suffering evoked by the music of Schubert’s Winterreise. Considered one of the most important song cycles in the history of music and the composer’s musical testament, Winterreise is a daunting challenge for singers. Antonio López will reflect on solitude and selfisolation, conveying the traumas, longing, hopes and fears of the wandering traveller. Adverse fate and despondency have so ravaged the character’s inner world that only the desire to

Turns

Prices

THURSDAY 23

20 h

—

35 €

FRIDAY 24

20 h

—

35 €

DISSSABTE 25

20 h

—

35 €

MARCH 2023

escape from an oppressive community keeps his heart beating. Winterreise, in all its disquieting beauty, is an invitation to profound melancholy, each desperate episode evoking another step along the path of a man betrayed. Antonio López will act as the audience’s distinguished guide as they immerse themselves in Schubert’s poetic universe and make this inner journey into emptiness. F. Schubert Winterreise, D. 911 Baritone   Benjamin Appl Piano James Baillieu Painter and sculptor Antonio López Stage director Bárbara Lluch and idea

CONCERT | 95

TH E WAN D E R E R At twilight I went into· the street. The sun hung low in the iron sky, ringed with cold plumage. If I could write to you about this emptiness– Along the curb, groups of children were playing in the dry leaves. Long ago, at this hour, my mother stood at the lawn’s edge, holding my little sister, whom death had made so lonely. Night after night we watched the screened porch filling with a gold, magnetic light. Why was she never called? Often I would let my own name glide pas tme though I craved its protection. LOU I S E G LÜCK

(Descending figure)

96 | SEASON 2022—2023

Sara Blanch and Xabier Anduaga Recital Friday 24 March 2023—

f any two artists unquestionably represent this country’s operatic future, their names are Sara Blanch and Xabier Anduaga. Born respectively in Darmós (Tarragona) and San Sebastian-Donostia (Gipuzkoa) some 30 years ago, they have rapidly acquired a solid reputation the world over. In front of the Liceu’s audience, their voices, which have already won applause in the world’s finest opera houses, will be heard together for the very first time. The tenor Anduaga, who won the 2019 Operalia competition, and the soprano Sara Blanch, who performed at the Salzburg Festival in 2021 under Teodor Currentzis, will sing arias and duets to showcase their artistic sensitivity and vocal prowess.

Arias and duets by Bellini (La sonnambula and I puritani), Donizetti (Lucia di Lammermoor and La fille du régiment), and Verdi (Rigoletto) Soprano Sara Blanch Tenor Xabier Anduaga Piano Giulio Zappa

They each shine with their own light but have in common a clear, precise and yet supple emission and an exquisite timbre. This recital full of empathy will confirm that these two great singers have all it takes to define 21st century opera. So a magical evening lies before us, in which they will put the very best they have to win us over, a breath-taking experience we will remember as the first of many outstanding appearances at the Liceu. MARCH 2023 FRIDAY 24

19 h

Turns

Prices

From 10 to 141 €

Approximate running time: 1 h 30 min

RECITAL | 97

Drawing by Jaume Plensa

98 | SEASON 2022—2023

Mahler’s Universe (I): 3rd Symphony Sunday 2 april 2023—

A symphony has to be like the world. It has to embrace everything. Jean Sibelius to Gustav Mahler, 1907.

n this concert we embark on a fascinating journey to conquer a veritable Mount Everest of music: the complete symphonies of Gustav Mahler.

Our first stop will be the Third symphony, one of Mahler's most optimistic and extraverted scores. It is also the longest of all his symphonies and calls for an extremely large orchestra. The Third Symphony offers us one of Mahler's most complete musical statements about his world vision. In it pain finds relief in death and this yearning can only be satisfied when we reach heaven. It is designed as a transition from the light of day to the darkness of night, as a set of shadows projected by a forest seething with life, and strikes a balance, as it unfolds, between refinement and meticulous detail, and the weight of the vast orchestra. Written in the summer of 1895 at the composer's retreat in Steinbach am Attersee (Austria), it has an extraordinary sixth movement, the Adagio, marked by a highly personal, outstandingly emotional type of music, so spellbinding and eloquent that it seems to exist outside time and to represent Mahler's vision of heaven.

APRIL 2023 SUNDAY 2

17 h

Turns

Prices

From 10 to 141 €

As the mezzosoprano's powerful melody gives way to a children's chorus imitating the sound of bells, Mahler succeeds in creating a discourse which considers the relationship between joy and death from a variety of angles. In the midst of this serene, powerful beauty, we set out on our journey under the guidance of one of the most prestigious Mahler specialists in the world, Josep Pons, who contributed to the new edition of the composer's scores published by Universal. G. Mahler Symphony No. 3 Mezzosoprano Victoria Karkacheva Cor Vivaldi-Petits Cantors de Catalunya Òscar Boada, conductor Chorus of the Gran Teatre del Liceu Pablo Assante, conductor Symphony Orchestra of the Gran Teatre del Liceu Conductor Josep Pons Pau Casals Memorial

Approximate running time: 1 h 30 min

CONCERT | 99

IMATGE PLENSA

100 | SEASON 2022—2023

Drawing by Jaume Plensa

Monteverdi’s Madrigals IV Friday 14 April 2023—

n our exploration of Claudio Monteverdi’s complete madrigals, we make a further stop at the Seventh Book in which polyphony evolves towards more modern forms and more daring harmonies. The Settimo Libro de Madrigali, is dedicated to the Duchess of Mantua, Caterina de’ Medici. By giving it the title Concerto, Monteverdi reflected his intention to achieve greater variety of form. It became a turning point in his output, after which he set out along new paths. The classical five-voice pattern, which remained unchanged in his first six books, is abandoned here and replaced by madrigals for one, two, three, four or six voices, alongside other types of vocal works. In the midst of these widely contrasting accents, forms and patterns, the instruments are assigned a key role instead of merely providing the continuo. The Seventh Book resembles an imaginary theatre featuring stories, episodes from love affairs, tragedies and even comedies about which we know neither the leading figures nor the time or place of the action. The madrigal is the perfect vehicle for expressing human passions. Monteverdi used it to experiment while also composing operas.

APRIL 2023 FRIDAY 14

20 h

Turns

Prices

—

35 €

This period was the gateway to the Baroque era and the sound portraits conjured up by Monteverdi, the Oracolo della Musica, are theatrical experiences which are both exquisite and highly intense. Rinaldo Alessandrini will be visiting the Liceu with his Concerto Italiano, a fl agship ensemble founded in 1985 which has performed in leading auditoriums throughout the world. An unquestioned specialist in this repertory, he has conducted the complete works of Monteverdi several times, from his madrigals to the Vespro della Beata Vergine, via his three surviving operas (L’Orfeo, Il ritorno d’Ulisse in patria and L’incoronazione di Poppea). He will act as master of ceremonies at the performances of this intriguing corpus of madrigals. C. Monteverdi Il settimo libro de Madrigali a cinque voci, 1619 (selection) C. Monteverdi Scherzi musicali (selection) Concerto Italiano Harpsichordist and Rinaldo Alessandrini conductor

Approximate running time: 1 h 30 min

CONCERT | 101

MANON

102 | SEASON 2022—2023

Drawing by Jaume Plensa

Manon JULES MASSENET

From 20 April— to 3 May 2023

OPÉRA COMIQUE IN FIVE ACTS

Libretto by Henri Meilhac and Philippe Gille World premiere: 19/1/1884 at the Opéra-Comique (Salle Favart) in Paris Barcelona premiere: 29/12/1894 at the Gran Teatre del Liceu Last Liceu performance: 9/7/2007 Total number of Liceu performances: 145

Stage director Choreography for this version Set design Costume design Lighting Production

Olivier Py Daniel Izzo Pierre André Weitz Pierre André Weitz Bertrand Killy Grand Théâtre de Genève and Opéra-Comique (París)

MANON Nadine Sierra | 20, 22, 24, 27 LESCAUT and 30 April and 3 May

Amina Edris | 21, 23, 26 and 29 April and 2 May POUSSETTE Inés Ballesteros JAVOTTE Anna Tobella ROSETTE Anaïs Masllorens CHEVALIER Javier Camarena | 20, 24, 27 DES GRIEUX and 30 April and 3 May

Pene Pati | 21, 22, 23, 26 and 29 April and 2 May LESCAUT Alexandre Duhamel | 20, 22,

24, 27 and 30 April and 3 May Jarrett Ott | 21, 23, 26 and 29 April and 2 May COMTE Laurent Naouri | 20, 22, 24, 27 DES GRIEUX and 30 April and 3 May

Jean-Vincent Blot | 21, 23, 26 and 29 April and 2 May APRIL 2023 THURSDAY 20

19 h

From 15 to 298 €

FRIDAY 21

19 h

From 15 to 293 €

SATURDAY 22

18 h

From 15 to 298 €

SUNDAY 23

18 h

From 14 to 264 €

MONDAY 24

19 h

From 15 to 298 €

WEDNESDAY 26

19 h

From 15 to 293 €

THURSDAY 27

19 h

From 15 to 298 €

SATURDAY 29*

19 h

From 15 to 293 €

SUNDAY 30

17 h

From 15 to 298 €

TUESDAY 2

19 h

From 14 to 264 €

WEDNESDAY 3

19 h

From 15 to 298 €

MAY 2023

GUILLOT DE Albert Casals MORFONTAINE MONSIEUR DE Tomeu Bibiloni BRÉTIGNY INNKEEPER Pau Armengol

Chorus of the Gran Teatre del Liceu Pablo Assante, conductor Symphony Orchestra of the Gran Teatre del Liceu Conductor Marc Minkowski

Approximate running time: 2 h 40 min (*) Function with audio description

OPERA | 103

Manon JULES MASSENET

«Preachers, you who want to restore me to virtue, tell me that virtue is absolutely necessary, but do not hide from me that it is also harsh and painful.» A.-F. Prévost, L’histoire du chevalier des Grieux et de Manon Lescaut (1732) (first part)

hen Abbé Antoine-François Prévost wrote L’histoire du chevalier des Grieux et de Manon Lescaut in 1731, he little imagined it would provide inspiration for operatic composers. Yet for Auber, Massenet, Puccini and others it did. Jules Massenet’s score portrays the French Regency period which saw the twilight of an old world unable to move forward and the apparent birth of a new world offering plentiful promises of freedom. Manon is a complex character, torn between the two. She 104 | SEASON 2022—2023

avoids being sent to a convent and embarks on a life of lasciviousness and wrongdoing. Her personal leap into the void is her passionate but self-destructive love affair with Des Grieux, a brief but delightful parenthesis which comes to a tragic end. Stage director Olivier Py, in his much-lauded production for the Grand Théâtre de Genève, eludes the historical trap of 18th-century libertinage to create associations with memorable but vulgar scenes in sordid, commonplace brothels. One of his images is unforgettable: that of Des Grieux finding Manon in a state of prostration but adorning herself with jewels which can do nothing to restore happiness or meaning to her life. The opera Massenet drew from Prévost’s novel was premiered at the Opéra-Comique in 1884. Touched by the entrancingly spontaneous music, the audience were able to overlook the

Soprano MANON LESCAUT

Stage director

NADINE SIERRA

J AV I E R CAMARENA

She won the Richard Tucker Award in 2017 and the Beverly Sills Artist Award in 2018. She has sung in opera houses such as the Staatsoper Berlin, the New York Metropolitan and the Teatro La Fenice in Venice. We first heard her at the Gran Teatre del Liceu in the 2020/21 season in the concert Del dolor a l’esperança and in Lucia di Lammermoor.

Camarena has earned applause for his interpretations of many composers, notably Bellini, Bizet, Donizetti, Haydn, Mozart, Rossini and Verdi. In 2014 he drew attention throughout the operatic world by encoring Ramiro’s aria (La Cenerentola) on two consecutive nights at the New York Metropolitan.

Tenor EL CAVALLER DES GRIEUX

OLIVIER PY

MARC MINKOWSKI

Author, stage director and actor. He has been the director of the Festival d’Avignon since 2014 and has staged numerous works there including La Servante (histoire sans fin) (1995) and L’Énigme Vilar (2006). In 1998 he was appointed director of the Centre Dramatique National d’Orléans. His first visit to the Gran Teatre del Liceu was for Lulu in the 2010/11 season.

Minkowski ranks among the most outstanding musical personalities of his generation. He began his musical studies as a bassoonist but soon decided to concentrate on conducting. At the age of 19 he founded Les Musiciens du Louvre with the aim of reviving the Baroque repertory.

Conductor

protagonists’ amoral and tortuous existence. Manon, who yearns above all for luxury and comfort, lapses into betrayal and prostitution and is sentenced to be deported to Louisiana. Her death in the arms of the powerless and remorseful Des Grieux carries a sobering message. From a misogynistic viewpoint, Manon’s strength and ability to embody wrongdoing and moral ruin have made her a literary myth on a par with the likes of Cleopatra, Eve, Salome, Carmen or Lulu. The leading couple are played by Javier Camarena, as the ingenuous Des Grieux, and Nadine Sierra, as the sparkling Manon. With Marc Minkowski on the podium, they make up a brilliant trio which revives this paradigm of French opera based on a provocative tale of loose morals about two adolescents with a thirst for life who face a dilemma and ultimately a tragic end.

Scan the QR code with your mobile phone and enjoy the musical highlights of Manon. M US ICAL

H I G H

LIG HTS OPERA | 105

106 | SEASON 2022—2023

Drawing by Jaume Plensa

Parsifal R ICHAR D WAG N E R

From 25 May— to 7 June 2023

"SACRED FESTIVAL" IN THREE ACTS

Libretto by Richard Wagner World premiere: 26/7/1882 at the Festspielhaus in Bayreuth   Barcelona premiere: 31/12/1913 at the Gran Teatre del Liceu Last Liceu performance: 12/3/2011 Total number of Liceu performances: 108

Stage director Set design and costume design Choreography Lighting Video Production

Claus Guth Christian Schmidt Volker Michl Jürgen Hoffman Andi A. Müller Gran Teatre del Liceu

Turns

Prices

THURSDAY 25

19 h

From 15 to 298 €

SUNDAY 28

18 h

From 15 to 298 €

TUESDAY 30

19 h

From 15 to 298 €

FRIDAY 2

19 h

From 15 to 298 €

SUNDAY 4

17 h

From 15 to 298 €

WEDNESDAY 7*

19 h

From 15 to 298 €

MAY 2023

JUNE 2023

PARSIFAL Nikolai Schukoff KUNDRY Elena Pankratova GURNEMANZ René Pape AMFORTAS Matthias Goerne KLINGSOR TITUREL FIRST FLOWER GIRL SECOND FLOWER GIRL THIRD FLOWER GIRL FOURTH FLOWER GIRL FIFTH FLOWER GIRL SIXTH FLOWER GIRL FIRST KNIGHT SECOND KNIGHT FIRST SQUIRE SECOND SQUIRE THIRD SQUIRE FOURTH SQUIRE A VOICE DANCER

Evgeny Nikitin Paata Burchuladze Isabella Gaudí Núria Vilà Karina Demurova Sonia de Munck Mercedes Gancedo Marifé Nogales Josep Fadó Felipe Bou Cristina Toledo Clare Presland Moisés Marín Albert Casals Clare Presland Joaquín Fernández Chorus of the Gran Teatre del Liceu Pablo Assante, conductor

Symphony Orchestra of the Gran Teatre del Liceu Conductor Josep Pons

Approximate running time: 5 h 10 min (*) Function with audio description

OPERA | 107

arsifal is a sacred festival for the stage based on medieval legends about the Holy Grail and the lance of Longinus. It was also Richard Wagner’s last score. Symbolic in character, it exemplifies better than any other opera the concept of redemption. Parsifal, the hero who is ignorant of his own origins and even his name, personifies innocence and compassion. In 1914 the exclusive rights the Bayreuth Festival had held since 1882 expired, allowing Parsifal to be performed at other venues. This aroused such excitement in Barcelona that the Liceu became the first opera house in the world to unveil the colossal score, at midnight on 31 December 1913.

In this version – undoubtedly one of the most widely acclaimed – Claus Guth directs his gaze towards the «old Europe» which is so well portrayed in Thomas Mann’s The Magic Mountain. Coproduced in 2011 by the Gran Teatre del Liceu and the Opernhaus Zürich, it interprets the work in a different timeframe from the original one. Guth associates the Knights of the Grail searching for a Redeemer with the disorientation and search for meaning which marked the aftermath of the First World War and even points to the events that led to the 1933 power seizure in Germany. The setting is a run-down hospital for war wounded, where trauma and discouragement reign and the hopes placed in a new leader will only lead to a new disaster. Focussing on symbols and myths, it illustrates moral and physical decadence in a family saga, but also a conflict that can be solved by love and forgiveness. In his days as a choirboy at the monastery of Montserrat, Josep Pons already dreamed about this opera. He will guide us through the mysteries of this outstanding musical monument performed by a luxury cast including Nikolai Schukoff, Elena Pankratova, René Pape, Matthias Goerne and Evgeny Nikitin. It will undoubtedly be one of the most moving events of the season.

108 | SEASON 2022—2023

Parsifal R ICHAR D WAG N E R

Scan the QR code with your mobile phone and enjoy the musical highlights of Parsifal. M US ICAL

H I G H

LIG HTS

Tenor PARSIFAL

NIKOLAI SCHUKOFF

ELENA PA N K R AT O VA

He has appeared in numerous opera houses including the Bayerische Staatsoper in Munich, the Palau de les Arts in Valencia, the Wiener Staatsoper, the New York Metropolitan, the Teatro Real de Madrid, the Théâtre du Capitole in Toulouse and the Deutsche Oper Berlin. His debut at the Gran Teatre del Liceu was in Iphigenie auf Tauris in the 2010/11 season.

Pankratova has sung in opera houses all over the world including the Bayerische Staatsoper in Munich, the Teatro Colón in Buenos Aires, the Wiener Staatsoper and London’s Royal Opera House. She was the first Russian soprano to appear at the Bayreuth Festival, where she played Kundry from 2016 to 2019 and Ortrud (Lohengrin) in 2019.

Soprano KUNDRY

RENÉ PA P E

M AT T H I A S GOERNE

Pape has sung in opera houses throughout the world with conductors such as Daniel Barenboim, Sir Colin Davis, James Levine, Sir Georg Solti, Sir Antonio Pappano and Valeri Gergiev. He first visited the Gran Teatre del Liceu for The Valkyrie in the 2007/08 season.

Goerne has performed in the world’s leading opera houses. Key roles in his repertory include Wolfram (Tannhäuser), Marke (Tristan und Isolde) and the title roles in Bluebeard’s Castle and Wozzeck. We first heard him at the Gran Teatre del Liceu in 2006/07 in a Mahler Concert.

Bass

Baritone

GURNEMANZ

AMFORTAS

OPERA | 109

IMATGE PLENSA Drawing by Jaume Plensa

110 | SEASON 2022—2023

Orfeo ed Euridice (CONCERT VERSION) CHRISTOPH WILLIBALD GLUCK

8 and 9 June 2023—

AZIONE TEATRALE PER MUSICA IN THREE ACTS

Libretto by Ranieri de’ Calzabigi World premiere: 5/10/1762 at the Burgtheater in Vienna Barcelona premiere: 5/12/1889 at the Gran Teatre del Liceu   Last Liceu performance: 29/4/2003 Total number of Liceu performances: 70

ORFEO Helena Rasker EURIDICE Polina Pasztircsák AMORE Kateryna Kasper

RIAS Kammerchor Freiburguer Barockorchester Conductor René Jacobs

JUNE 2023

Turns

Prices

THURSDAY 8

19 h

From 15 to 263 €

FRIDAY 9

19 h

From 15 to 263 €

Approximate running time: 2 h 15 min

OPERA (C. V.) | 111

Orfeo ed Euridice (CONCERT VERSION) CH R I STOPH WI LLI BALD G LUCK

his azione teatrale in three acts, based on Ovid’s Metamorphoses, was first seen at the Burgtheater in Vienna in 1762. When Gluck produced this new version of the fable of Orpheus nearly a century and a half after Monteverdi, he was in effect committing himself to reforming the conventions of opera. He focussed on the forcefulness, cohesion and wealth of the plot to create a work which broke with past forms and added an amazing profusion of luminously beautiful ballets and choruses. But aside from the beauty of Gluck’s opera, this Liceu performance has an added attraction: the chance to hear it interpreted by René Jacobs at the head of the Freiburg Baroque Orchestra, which has long been at the pinnacle of period instrument ensembles. Jacobs, one of the greatest countertenors of all time, laid down the guidelines for singing the role of Orpheus. Now he approaches the work as a conductor, concentrating on the drama and underscoring the dynamics and universality of 112 | SEASON 2022—2023

the score. His conducting style is a guarantee of subtle shading and theatricality, elegance and attention to detail, with the aim of offering something new and unique. While the theme is taken from one of the most attractive of myths, the action concentrates on Orpheus and Eurydice as a couple and the arias demand consummate sensibility and virtuosity. Gluck’s opera, which blends grace with poetry, depicts Orpheus as he faces a hazardous decision, for to embark on the daunting and painful descent into hell to recover the woman he loves is nothing less than a leap into the void «Che farò senza Euridice.» (What will I do without Eurydice?) Scan the QR code with your mobile phone and enjoy the musical highlights of Orfeo ed Euridice. M US ICAL

H I G H

LIG HTS

Contralt ORFEO

Soprano EURIDICE

HELENA RASKER

K AT E R Y N A KASPER

Her recent engagements include the roles of The Grandmother, The Old Woman, and The Finn Woman in Hans Abrahamsen’s The Snow Queen at the Opéra national du Rhin in Strasbourg and a concert with Ken Nagano at the Amsterdam Concertgebouw. This is her debut at the Gran Teatre del Liceu.

Her repertory includes such roles as Sophie (Der Rosenkavalier), Gilda (Rigoletto), Susanna (Le nozze di Figaro), Gretel (Hänsel und Gretel), Antonida (A Life for the Tsar) and Pamina (The Magic Flute). She has sung at the Edinburg, Bregenz, Savonlinna and Bergen festivals, and at the LA Opera in Los Angeles.

Soprano AMORE

POLINA PA S Z T I R C S Á K

RENÉ JACOBS

She won the first prize, audience prize and three special prizes at the Geneva Competition in 2009 and since then has performed throughout Europe. Her forthcoming engagements include her debut in roles such as Arabella, Elettra (Idomeneo) and Euridice (Orfeo ed Euridice). This is her first appearance at the Gran Teatre del Liceu.

Singer, conductor and academic, Jacobs has become one of the most prominent names in Baroque and vocal music. In 1977 he founded the ensemble Concerto Vocale to explore the Baroque repertory. He conducts works ranging from the Baroque age to Rossini and in early 2021 published a recording of Beethoven’s Missa solemnis.

Conductor

OPERA (C. V.) | 113

Drawing114 by Jaume Plensa 2022—2023 | SEASON

Dido & Aeneas H E N RY PU RCE LL A NEW LICEU COPRODUCTION CON D UCTE D BY WI LLIAM CH R I STI E WITH CHOR EOG RAPHY BY B LANCA LI

From 16 to 21 June 2023—

BAROQUE OPERA COMPRISING A PROLOGUE AND THREE ACTS.

Libretto by Nahum Tate, based on Book VI of Virgil’s Aeneid, choreography by Sasha Waltz World premiere: 1689 at Mr Josias Priest’s Boarding School for Girls in Chelsea (London) Barcelona premiere:14/01/1956 at the Gran Teatre del Liceu Last Liceu performance: 22/01/1956 Total number of Liceu performances: 3

Set design and choreography Set design for this version Costume design Lighting Video Production

JUNE 2023

DIDO Kate Lindsey ANEAS Renato Dolcini BELINDA Ana Vieira Leita

Dancers from the Blanca Li Company Chorus and Orchestra of Les Arts Florissants Conductor William Christie

Blanca Li Pierre Attrait Laurent Mercier Caty Olive Charles Carcopino Gran Teatre del Liceu, Teatros del Canal (Madrid), Château de Versailles Spectacles, Théâtre Impérial de Compiègne and Les Arts Florissants

Turns

FUNDACIÓN LOEWE patrocina el Cercle de la Dansa

Prices

FRIDAY 16

19 h

#LICEUNDER35

20 €

SATURDAY 17

19 h

DANCE

From 15 to 263 €

SUNDAY 18

17 h

From 15 to 263 €

MONDAY 19

19 h

From 15 to 263 €

TUESDAY 20

19 h

From 15 to 263 €

WEDNESDAY 21

19 h

From 15 to 263 €

Approximate running time: 1 h 45 min

OPERA-DANCE | 115

Dido & Aeneas

K AT E LINDSEY

H E N RY PU RCE LL

«When I am laid in earth, may my wrongs create no trouble in thy breast…»

enry Purcell’s Dido and Aeneas is a delightful chamber opera based on Christopher Marlowe’s Dido, queen of Carthage. Purcell – the «Orpheus Britannicus», as he has been named – raised English opera to the peak of elegance and eloquence by composing one of the most remarkable operas ever. Over 300 years after it was premiered, this opera still moves us with its message about love and loss. The tragic story of Dido, the queen of Carthage, and the Trojan prince Aeneas was told by Virgil. Purcell’s music is highly varied, ranging from the powerful emotions of Dido’s famous lament, via the darker tones of the witches, to the sailors’ lively songs and dances.

Mezzosoprano DIDO

R E N AT O D O LC I N I Dolcini was one of the six young "new talents" selected from participants in the 7th edition of William Christie's Jardin des Voix in 2015, and this enabled him to embark on a tour of the world's leading cities. He is making his debut at the Gran Teatre del Liceu.

Baritone AENEAS

WILLIAM CHRISTIE

Blanca Li, in this striking opera and dance production, uses her characteristic choreographic idiom to reinterpret this great but sad tale about how the inability to keep passion and powerful feelings under control can end in betrayal and a tragic parting. William Christie, a pioneer of the use of period instruments and a renowned specialist in Baroque music, will be at the head of his ensemble Les Arts Florissants to offer us this sensitive, creative and unconventional performance.

Conductor

H I G H

LIG HTS Choreographer

116 | SEASON 2022—2023

The harpsichordist, conductor and educator William Christie played a prime role in rediscovering French Baroque music and introducing it to the general public. He founded the ensemble Les Arts Florissants in 1979. He first visited the Gran Teatre del Liceu in 2017/18 for Ariodante.

BLANCA LI

Scan the QR code with your mobile phone and enjoy the musical highlights of Dido & Aeneas. M US ICAL

Her recent engagements include Dorabella (Così fan tutte) at the Maggio Musicale Fiorentino and the Mozartwoche in Salzburg, as well as Nerone (L’incoronazione di Poppea), Elvira (Don Giovanni), and Music and Hope (L’Orfeo) in Vienna. We first heard her at the Gran Teatre del Liceu in the 2017/18 season in Ariodante.

Li is a choreographer, dancer and actress. In 2019 she became the first woman choreographer to enter the French Académie des Beaux-arts. Since that same year she has been the director of the Teatros del Canal in Madrid. Her debut at the Gran Teatre del Liceu came in the 2020/21 season.

T H E N I G H T M I G R AT I O N S This is the moment when you see again the red berries of the mountain ash and in the dark sky the bird’s night migrations. It grieves me to think the dead won’t see them– these things we depend on, they disappear. What will the soul do for solace then? I tell myself maybe it won’t need these pleasures anymore; maybe just not being is simply enough, hard as that is to imagine. LOU I S E G LÜCK

(Averno)

ÒPERA-DANSA | 117

MICROOPERAS

118 | SEASON 2022—2023

Drawing by Jaume Plensa

(Oh!)pera MICRO-OPERA PROJECT

From 5 to 9 July 2023—

OPERA I

Composer Carlos de Castellarnau OPERA II

Composer Andreu Gallén    OPERA III

Composer Marian Márquez OPERA IV

Composer Itziar Viloria The Liceu is beginning to cooperate with Barcelona City Council’s Department of Tourism and Creative Industries, the Disseny Hub Barcelona and the city’s design schools in order to promote learning through practice. Àlex Ollé will be the mentor of this project.

Turns

Prices

WEDNESDAY 5

19 h

—

35 €

THURSDAY 6

19 h

—

35 €

SUNDAY 9

11 h

—

35 €

SUNDAY 9

17 h

—

35 €

JULY 2023

OPERA | 119

(Oh!)pera MICRO-OPERA PROJECT

he project (Oh!)pera launched by the Gran Teatre del Liceu to commission four small-format operas for performance on the same evening. Teams of young people selected in cooperation with five Barcelona design schools have worked for over a year to devise these energy-packed shows, each of which lasts about thirty minutes. The singers will share tales about their traumas, unconfessable secrets, impossible dreams and expectations with members of the audience as the latter tour the innermost recesses of the

Composer and guitarist

Composer

opera house, each show gaining forcefulness by being acted at close quarters. Participants include composers with ties to Barcelona and their chosen librettists, young stage directors whose productions are made with schools of drama, design and applied arts, locally born singers, and chamber ensembles made up of musicians from the Liceu’s conservatory. For the creative artists of tomorrow, this first chance to work at the Liceu will be a leap into the void.

CA R LO S D E CASTELLARNAU

ANDREU GALLÉN

The music of composer and guitarist Castellarnau is closely linked to the visual arts and to the limits of reality as seen through the aesthetic of the grotesque. Of special note are his mixed music and his relationship to the world of musical drama. His works are often heard at major international festivals, performed by a variety of groups. This is his first appearance at the Gran Teatre del Liceu.

Gallén is a pianist, conductor and composer whose career began in the field of classical music. From 2011 onwards, however, he became extensively involved in the performing arts as musical director, composer and arranger. His plans for 2023 include a brand new musical and his first opera.

Pianist, conductor and composer

MARIAN MÁRQUEZ

ITZIAR V I LO R I A

After graduating in piano studies under Àngel Soler, Marian Márquez developed an interest in composition. In 2003 she obtained a degree in composition from the Conservatori Superior del Liceu, where she studied with Manuel Oltra and Lluís Vergés. She is currently working on various projects in the field of composition and also writes for classical ensembles. This will be her first undertaking at the Gran Teatre del Liceu.

Viloria, who studied composition with Mauricio Sotelo, Christophe Havel and Pierre Jodlowski, has also studied the fine arts. She has worked with architects, stage designers, actors and musicians, received commissions from several festivals, and taken part in the Composers' Journeys, a European project run by the Ulysses Network. This is her debut at the Gran Teatre del Liceu.

120 | SEASON 2022—2023

Composer

LU LLABY [...] My mother’s seen death; she doesn’t talk about the soul’s integrity. She’s held an infant, an old man, as by comparison the dark grew Solid around them, finally changing to earth. The soul’s like all matter: why would it stay intact, stay faithful to its one form, when it could be free? LOU I S E G LÜCK

(Ararat)

ÒPERA | 121

122 | SEASON 2022—2023

Drawing by Jaume Plensa

L’incoronazione L’incoronazione di Poppea CLAU D IO MONTEVE R D I

From 10 to 21 July 2023—

DRAMMA MUSICALE IN ONE PROLOGUE AND THREE ACTS

Libretto by Gian Francesco Busenello World premiere: Temporada 1642/43 at the Teatro Sancti Giovanni e Paolo (Teatro Grimano) in Venice Barcelona premiere: 3/2/2009, at the Gran Teatre del Liceu Last Liceu performance: 3/12/2017, in concert version Total number of Liceu performances: 12

Stage director This version Set design Costume design Lighting Video Production

Calixto Bieito Beate Breidenbach Rebecca Ringst Ingo Krügler Franck Evin Sarah Derendinger Opernhaus Zürich

NERONE David Hansen OTTONE Xavier Sabata SENECA Nahuel di Pierro LIBERTO Josep Ramon Olivé LUCANO Thobela Ntshanyana VALETTO Natalia Labourdette LITTORE Milan Perišic OTTAVIA POPPEA DRUSILLA FORTUNE / THE EMPRESS'S LADY-IN-WAITING / PALLADE NUTRICE ARNALTA LA VIRTÚ AMORE / FLORIE

Magdalena Kožená Julie Fuchs Deanna Breiwick Florie Valiquette

Marcel Beekman Emiliano González Toro Irene Mas Jake Arditti Members of the Orchestra of the Gran Teatre del Liceu Members of Le Concert des Nations

JULY 2023 MONDAY 10

Turns

Prices

19 h

Frrom 15 to 293 €

WEDNESDAY 12

19 h

Frrom 15 to 293 €

SATURDAY 14

19 h

Frrom 15 to 293 €

MONDAY 17

19 h

Frrom 15 to 293 €

WEDNESDAY 19

19 h

Frrom 15 to 293 €

FRIDAY 21*

19 h

Frrom 15 to 293 €

Conductor Jordi Savall | 10, 12, 14 and 21 July Luca Guglielmi | 17 and 19 July

Approximate running time: 3 h 15 min (*) Function with audio description

OPERA | 123

L’incoronazione di Poppea CLAU D IO MONTEVE R D I

onteverdi’s last opera was premiered in the winter of 1642 at the Teatro Santi Giovanni e Paolo (Teatro Grimano) in Venice. The author of the libretto, Giovanni Francesco Busenello, belonged to the Accademia degli Incogniti, a body with a reputation for libertinage and undisguised criticism of Christianity. Opera, at the time, was emerging from the palaces to be staged in theatres, where it became available to wider audiences. It was also beginning to use plots based on historical events instead of mythology, as was the case in Monteverdi’s own L’Orfeo. Monteverdi has been called the «Oracle of Music» and his Poppea, though 380 years old, has surprisingly modern traits, with a depth and passion reminiscent of our own times. The music brilliantly captures Nero’s tyrannical hysteria and Poppea’s irresistible sensuality. Both words and music are used to achieve superb dramatic effects in a dazzling combination of comedy and tragedy. 124 | SEASON 2022—2023

This production by Calixto Bieito was first seen at the Opernhaus Zürich in 2018 and has been one of the most successful shows of recent seasons. Acclaimed by both audience and reviewers, it owes part of its magic to Rebecca Ringst, whose set design brings the audience closer to the stage than ever before. The obsessive, supremely vain characters inhabit a glamorous world of infinite self-praise and self-indulgence which is reflected in the video screens that dominate the stage. Julie Fuchs brings us a new, sensuous interpretation of Poppea. Neither setbacks nor defeats will stop her carrying out her plan to metamorphose from an ambitious courtesan into a crowned empress. This will be her leap into the void. Alongside her, countertenor David Dansen will give us an equally enjoyable rendering of Nero, who is so enslaved by Poppea’s beauty and words that he willingly orders Seneca to commit suicide after the latter has incurred her

Soprano POPPEA

Stage director

JULIE FUCHS

MAGDALENA KOŽENÁ

Among the roles she has sung are Marie (La fille du régiment) at the Wiener Staatsoper, Leïla (Les pêcheurs de perles) at the Théâtre des Champs Élysées in Paris, Giunia (Lucio Silla) at the Teatro Real de Madrid and Musetta (La bohème) at the Bayerische Staatsoper in Munich. We first saw her at the Gran Teatre del Liceu in the 2020/21 season in a concert version of Mitridate, re di Ponto.

Mezzosoprano OTTAVIA

CALIXTO BIEITO

JORDI S AVA L L

Bieito was the director of Barcelona’s Teatre Romea for 10 years. He re-organized the Festival Internacional de las Artes de Castilla y León in Salamanca and launched the Barcelona International Teatre (BIT) project, a forum for sharing projects between theatres. His first engagement at the Gran Teatre del Liceu was for Un ballo in maschera in the 2000/01 season.

Savall has been doing research into ancient music for over fifty years. After studying the works, he either performs them on the viola da gamba or conducts them. He first came to the Gran Teatre del Liceu in the 1990/91 season for Una cosa rara and has recently conducted Beethoven’s 8th and 9th symphonies here (2021/22).

Conductor

displeasure. Her unscrupulous battle against Nero’s wife Octavia (sung by Magdalena Kožená) and Ottone (Xavier Sabata) also ends in their banishment. Jordi Savall, an unrivalled connoisseur of this repertory, will be on the podium to offer us a score which was believed lost for centuries until rediscovered in 1888. Ingredients such as eroticism, ambition and the fascination of power make this a modern opera. It culminates in the exquisitely melodious duet attributed to Benedetto Ferrari: «Pur ti miro, pur ti godo» (I gaze at you, I delight in you.)

Scan the QR code with your mobile phone and enjoy the musical highlights of L’incoronazione di Poppea. M US ICAL

H I G H

LIG HTS OPERA | 125

THE WILD IRIS [...] It is terrible to survive as consciousness buried in the dark earth. [...] [...] You who do not remember passage from the other world I tell you I could speak again: whatever returns from oblivion returns to find a voice: from the center of my life came a great fountain, deep blue shadows on azure seawater. LOU I S E G LÜCK

(The wild Iris)

126 | SEASON 2022—2023

Sondra Radvanovsky and Piotr Beczała Recital 13 and 16 July 2023—

he Liceu reopened in 2020, after a six-month closure owing to COVID-19, to a triumphant recital by two well-loved singers: Sondra Radvanovsky and Piotr Beczala. In the meantime, 2,292 plants had occupied the seats thanks to an artistic project by Eugenio Ampudia That recital was a huge success. The audience was moved and thrilled to hear two of the finest voices in the world live once more and gave them a tumultuous welcome. Now that we are back to normal, the Liceu is closing the circle by inviting the same tandem of friends to relive the event and prove that it’s all behind us at last.

Their emotional intensity and vibrant interpretations will help us recover from this troubled period in the history of mankind and every aria and duet will live on in our memories. A veritable vocal banquet. Arias and duets by Verdi, Puccini and other Verismo Soprano Sondra Radvanovsky Tenor Piotr Beczała Piano Sarah Tysman

These two firm favourites, with their characteristic elegance, warm phrasing, daring high notes and dashes of temperament and passion, will display their usual generosity by giving us the best they have in this programme packed with themes from great operas by Verdi, Puccini, Giordano, Mascagni and others.

JULY 2023

Turns

Prices

THURSDAY 13

19 h

From 10 to 182 €

SUNDAY 16

17 h

From 10 to 182 €

Approximate running time: 1 h 30 min

RECITAL | 127

IMATGE PLENSA O ANUNCI

128 | SEASON 2022—2023

Drawing by Jaume Plensa

Mahler’s Universe (II): 6th Symphony Thursday 20 July 2023—

«It is music that is full of human frailties. His symphonies are suffused with personality – he has his own way of doing and saying everything. The irascible scherzos, the heaven-storming calls in the brass, the special quality of his communings with nature, the gentle melancholy of a transitional passage, the gargantuan Ländler, the pages of an incredible loneliness...» Aaron Copland

his second episode of our review of Gustav Mahler’s complete symphonies is dedicated to the Sixth, written between 1903 and 1904, and described by his wife Alma in the following terms: «After [Gustav] had drafted the first movement, he came to tell me that he had tried to express me in one of the themes. ’I don’t know if I’ve succeeded, but you’ll have to put up with it’. This is the grandiose second theme of the first movement. In the third movement [the scherzo], he evoked the arhythmic games of the two youngest children as they tottered in zigzags across the sand. The children’s voices became increasingly tragic and ultimately faded into a whimper. In the last movement, he described himself and his downfall or, as he said later, that of

JULY 2023 THURSDAY 20

19 h

Turns

Prices

From 10 to 141 €

his hero. ’It’s the hero, who receives three blows from destiny, and the last fells him as a tree is felled’: those were his words. None of his works rose so directly from his heart as this. We both cried that day. The music and what it forecast moved us deeply...» Though written during a period of happiness and professional success, this is Mahler’s most sombre, belligerent, anguishing, searing work (along with his Kindertotenlieder). The result is a score which is colossal in structure but also premonitory for just a year after the premiere he lost his four-year-old daughter Marie. Mahler was cruelly punished by fate: after his daughter’s premature passing, his mother-in-law died during the child’s funeral, he lost his post at the Vienna Staatsoper and developed the heart condition that was to end his life. His music is tinted with the deep hues of tragedy. Mahler was undoubtedly doomed and tries to explain this throughout his works. G. Mahler Symphony No. 6 Symphony Orchestra of the Gran Teatre del Liceu Conductor Josep Pons

Approximate running time: 1 h 30 min

CONCERT | 129

THE RED POPPY The great thing is not having a mind. Feelings: oh, I have those; they govern me. I have a lord in heaven called the sun, and open for him, showing him the fire of my own heart, fire like his presence. [...] LOU I S E G LÜCK

(The wild Iris)

130 | SEASON 2022—2023

Coppél-i.A. SOUS LA PR É S I D E NCE D E S.A.R. LA PR I NCE SS E D E HANOVR E LE S BALLETS D E M ONTE-CAR LO J EAN-CH R I STOPH E MAI LLOT

From 26 to 30 July 2023—

BALLET IN 2 ACTS

World premiere: 27/12/2019 by Les Ballets de Monte-Carlo in the Salle des Princes at the Grimaldi Forum

he Ballets de Monte-Carlo offer us Coppél-i.A, a new work in which their choreographer and director Jean-Christophe Maillot revisits the famous Romantic ballet to explore the world of robots and reflect on the development of artificial intelligence in present-day society. Coppélia, the emblematic classical ballet on which it is based, was created in 1870 by Arthur Saint-León and Léo Delibes and inspired by E. T. A. Hoffmann’s tale Der Sandmann. Coppél-i.A. projects the audience into a near future, showing us how two young lovers, Frantz and Swanhilda, discover carnal love in a society which demands ever more progress, safety and hygiene. As eroticism bursts into their lives, an artificial being undermines their certainties and challenges everything they thought they knew about love. JULY 2023

Turns

Prices

WEDNESDAY 26

19 h

From 10 to 177 €

THURSDAY 27

19 h

From 10 to 177 €

FRIDAY 28

19 h

From 10 to 177 €

SATURDAY 29

17 h

DANCE

From 10 to 177 €

SATURDAY 29

21 h

From 10 to 177 €

SUNDAY 30

17 h

From 10 to 177 €

Jean-Christophe Maillot breathes life and feelings into the puppet created by Dr Coppélius, endowing it with a human nature that goes beyond realistic movements. In this performance Maillot stresses the story as much as the dancing. The characters are carefully portrayed and Delibes’ music is enriched and given a more contemporary air to underline their feelings. Is our ideal partner a being empowered by artificial intelligence which questions our status as members of the human species? Choreography Original music and arrangements of music by Léo Delibes Set and costume design Lighting

Jean-Christophe Maillot Bertrand Maillotv

Aimée Moreni

Samuel Thery and Jean-Christophe Maillot Dramaturgy Jean-Christophe Maillot and Geoffroy Staquet

FUNDACIÓN LOEWE sponsors the Dance Circle

Approximate running time: 2 h

DANCE | 131

Drawing by Jaume Plensa

The future starts in the present LiceuApropa LiceuAprèn With the conviction that through the music, opera and art we can connect with people, with their capacity to listen, feel, understand, reflect and be moved, the LiceuAprèn becomes an educative global programme committed to people and learning.

23.500

children have come to one of the 32 performances of El Petit Liceu.

350

educational centres have participated in one of the 187 training sessions.

967

We are committed to accessibility because we believe in music as an instrument to improve people’s lives. LiceuApropa wants to guarantee the access for people in vulnerable situations and offer them accessible and inclusive experiences.

+4.400

people of the Programme Apropa Cultura have enjoyed of the Liceu’s programming.

412

citizens of the Raval’s neighbourhood take part in the first production of a community opera of new creation.

330

students involved in the first participatory opera.

people with visual disability can enjoy of the 11 operas of the Season through audio-description.

4.500

550

people have attended one of the 100 conferences scheduled around the territory.

134 | SEASON 2022—2023

children with functional diversity enjoy children’s programming thanks “Friend performances” adapted to their needs

With the SPONSORSHIP AND PATRONAGE PROGRAMME, we develop projects so that everyone has access to opera and the Liceu. Thanks to the companies adhering to the Programme, this Season we have consolidates strategic projects for the future.

LiceUnder35 Audiovisual project Liceu+, an innovative audiovisual platform that includes a digital subscription to bring music and opera to all those who do not have easy access to the Theatre.

+10.232

people have subscribed to the new digital platform Liceu+ launched on November 2021.

With the aim of promoting culture and attracting younger audiences, the Liceu created the Programme Under35 aimed to younger 35 years old. The programme is a commitment to the future with an innovative and open looking.

13.000

young have attended the Under35 sessions form the beginning of the programme.

6.800

young have enjoyed tickets with an Under35 rate

11.182

young have subscribed this season to the Community Under35.

G IVE US SUPPORT

175 Anniversary The year of the 175 anniversary of the Liceu’s inauguration, the Theatre publishes its annals where are included all the information and artistic documentation from its origins.

17.525 single users.

248.825 visualizations.

126 queries.

https://annals.liceubarcelona.cat/

THE FUTURE STARTS IN THE PRESENTS | 135

Always Mozart! LICE U CLASS ICAL E N S E M B LE CHAMBER MUSIC

Tuesday 31 January 2023—

olja Blacher, who was the concertmaster of the Berlin Philharmonic from 1993 to 1999 under the late lamented Claudio Abbado, will act both as conductor and soloist in this programme devoted to Mozart.   The classical music ensemble, which arose from the Symphony Orchestra of the Gran Teatre del Liceu, will immerse itself in works by the genius from Salzburg which are embody perfection and are undoubtedly the maximum expression of balance and beauty in music. Flanking Mozart’s two virtuoso violin concertos will be two of his greatest and most brilliant symphonies: numbers 29 and 25.

JANUARY 2023 TUESDAY 31

19 h

Turns

Prices

—

25 €

Approximate running time: 1 h

136 | SEASON 2022—2023

W. A. Mozart Symphony No. 29 in A major, KV 201 Concerto for violin and orchestra No. 5 in A major, KV 219   Concerto for violin and orchestra No. 4 in D major, KV 218 Symphony No. 25 in G minor, KV 138 Conductor and Kolja Blacher    solo violin LICEU CLASSICAL Musiciens of the ENSEMBLE Orquestra Orquestra

Simfònica del Gran Teatre del Liceu

Brass virtuosi LICEU BRASS ENSEMBLE CHAMBER MUSIC

Tuesday 27 June 2023—

he distinguished musician Stefan Dohr, who is the principal horn of the Berlin Philharmonic, has led the brass section of the Orchestra of the Gran Teatre del Liceu in preparing this demanding concert. The performance has required exhaustive technical work on the part of the members of the Ensemble and in-depth exploration of the virtuoso programme, which is challenging and gratifying in equal measure. In this eloquent concert full of subtle detail, the brass instruments will shine more brightly than ever!

JUNE 2023 TUESDAY 27

19 h

Turns

Prices

—

25 €

A. Copland Fanfare for the Common Man J. Tower Fanfare for the Uncommon Woman P. Dukas Villanelle (arranged for horn and brass ensemble) V. Žuraj Quiet, Please! W. Chou Soliloquy of a Bhiksuni H. Tomasi Fanfares liturgiques S. Prokofiev Romeo and Juliet, op. 64 (arranged for brass) Conductor and Stefan Dohr horn soloist LICEU BRASS Brass ensemble of the ENSEMBLE Orquestra Simfònica

del Gran Teatre del Liceu

Approximate running time: 1 h

CHAMBER MUSIC | 137

Sunday 20 November 2022— 6 pm Foyer room

E R M ON E LA JAH O Soprano S U SAN NA MÄLK K I Conductor LOTTE D E B E E R Stage director

Drawing by Jaume Plensa

LI S E DAVI D S E N Soprano

Friday 10 February 2023— 8 pm Foyer room JAU M E PLE N SA Visual artist, sculptor and engraver Moderator: Víctor Garcia de Gomar

Monday 6 March 2023— 7 pm Foyer room MAR I NA AB RAM OVI C Performer and visual artist Moderators: Víctor Garcia de Gomar and Leticia Martín

138 | SEASON 2022—2023

Talks Monday 14 June 2023— 8 pm Chorus Room WI LLIAM CH R I STI E Conductor and harpsichordis B LAN CA LI Dancer and choreographer

Monday 26 June 2023— 7 pm Foyer room J OR D I SAVALL Conductor and viola da gamba player Moderator: Víctor Garcia de Gomar

Thursday 16 March 2023— 8 pm Tenor Viñas room RAQU E L GAR CÍA-TOMÁS Composer MARTA PA Z OS Stage director I R È N E GAYR AU D Writer and poet

Thursday 23 March 2023— 7 pm Former ’La Model’ prison ANTON I O LÓPE Z Painter, sculptor and visual artist Moderator: Víctor Garcia de Gomar

TALKS | |139 THE PLENSA ALPHABET 139

Installation 13 October 2022— Main Auditorium Exhibition from 26 October to 13 November 2022— Mirror Room

Drawing by Jaume Plensa

Exhibitions

FLÁVIA J U N QU E I RA Photographer The Brazilian artist’s playful installation gives the auditorium a whole new look, turning it into a veritable temporary stage set.

from16 February to 11 March 2023— Mirror Room JAU M E PLE N SA Sculptor, painter and engraver While Jaume Plensa is working on his version of Verdi’s Macbeth, he will also occupy the Liceu’s well loved Mirror Room with a project that will change the way we see it. His works will live there for a month, engaging in dialogue and raising questions.

140 | SEASON 2022—2023

From 18 March to 2 April 2023— Mirror Room LLU C QU E RALT Photographer RAQU E L GAR CÍA-TOMÁS Composer MAR ÍA SÁN CH E Z Poet Brizna

From 23 March to 30 April 2023— Former ’La Model’ prison ANTON I O LÓPE Z Painter, sculptor and engraver The passing of time and its associated metaphors are the materials the painter Tomelloso has worked with. While engaged on the stage set for Schubert’s Winterreise, he will also set up some of his works in the prison cells so that we see them in a very different perspective.

An interdisciplinary installation in which photographs by Lluc Queralt (with light touches of gold and silver paint and ink) intertwine with music by Raquel García-Tomás and poetry by María Sánchez. The work reflects on homecoming, being part of place and being aware of it.

From 25 May to 22 June 2023— Mirror Room MAR R IA PRATTS Visual artist Marria Pratts is one of our country’s most powerful young present-day artists. Her works evoke a decadent world and show habits and stereotypes from her environment. With a striking discourse, full of irony, she derives input from the street, creating works which, though critical, preserve their spontaneity and hope.

EXHIBITIONS THE PLENSA ALPHABET | |141 141

E L

PE TIT

LI C E U

Season 2022—2023

144 | SEASON 2022—2023

Els músics de Bremen AT T H E G R A N T E AT R E D E L L I C E U

November 2022—

his classical tale by the Grimm brothers tells the story of farm animals who rebel against their cruel owners and use sharp wits and teamwork to escape from their ordeal. A show featuring dancing and puppets, enhanced by friendship, movement and colour galore, which is performed by four dancers, a narrator and a clarinettist. Set to original music by Poire Valvé, it includes a scene in which the young audience joins in the song “Cap a Bremen” (“Off to Bremen”). This title is another firm favourite and has been seen by thousands of children and their families every season since it first appeared on the Petit Liceu bill in 2007.

NOVEMBER 2022

Music Stage Director Choreography Choreography assistant Production

Poire Vallvé Joan-Andreu Vallvé Marta Almirall Anna Planas Gran Teatre del Liceu

ACTRESS Anna Briansó/ Marta Rosell MUSICIAN Naüm Monterde/ Dani Arias DONKEY Ricard Fernández/ Marc Lapuerta DOG Mariona Camèlia/ Marc Lapuerta CAT Laura Ruiz/ Cristina Miralles COCK Cristina Miralles/ Mariona Camèlia

Price

SATURDAY 5

11 h

15 €

SUNDAY 6

11 h

15 €

Approximate running time: 55 min Recommended for ages 3 and up

EL PETIT LICEU | 145

146 | SEASON 2022—2023

Mirrors I N T H E F OY E R AT T H E G R A N T E AT R E D E L L I C E U

March 2022 April 2023—

hen we walk down the Rambla and into the Liceu, we leave the roar of the city behind us and enter a place that invites us to return to our beginnings.

What did the world sound like from inside our mother’s womb? What were the first musical sounds we heard? How did sound and movement help us to comprehend the world about us? Mirrors is a chance to retrace our steps from the discovery of ourselves to that of the vast world. From when we were confronted with the difference of others to when we realized we are all part of the same world. Mirrors uses music and dance to create a sensory experience, an experience with children involving connection and proximity which will take us farther than we could ever have dreamed.

Original idea Miquel Gené and director Stage director Quim Serra - Factoria Mascaró Set and costume Pau Fernández design Ballarins Lali Mateu / Laida Tanco Lluís Fàbregas / Jordi Rubio Mezzosoprano Eulàlia Fantova Saxos i clarinet Marcel·lí Bayer Guitarres Santi Careta Production Gran Teatre del Liceu (*) “Friendly performance” for those with attention deficit disorder and/ or autism, with the support of AENA

Mirrors, a touchstone experience with a title reminiscent of the Liceu’s emblematic Mirror Room.

NOVEMBER 2022

Price

SUNDAY 13

11 h

15 €

SATURDAY 19

11 h

15 €

SATURDAY 15*

11 h

15 €

SUNDAY 16

11 h

15 €

APRIL 2023

Approximate running time: 45 min Recommended for ages 3 and up

EL PETIT LICEU | 147

148 | SEASON 2022—2023

El conte de Nadal de Charles Dickens AT T H E G R A N T E AT R E D E L L I C E U

December 2022—

he children’s choir of Amics de la Unió join forces with the Symphony Orchestra of the Gran Teatre del Liceu to offer us this very special concert, illustrated by the poetic beauty of sand art by Borja González (of Ytuquepintas).

Music and piano Music director Adaptation of the text and stage coordination Soloists

Albert Guinovart Josep Vila Jover David Pintó

Ana San Martín i Albert Mora Sand art Borja González (Cia. Ytuquepintas) Symphony Orchestra of Gran Teatre del Liceu With the participation of musicians from the Conservatori del Liceu Veus - Cor infantil Amics de la Unió

Organized through cooperation between the Gran Teatre del Liceu, the Fundació Ferrer-Salat and the Fundació Conservatori del Liceu, which aims to foster the participation of young musicians and creative artists from the Centre Superior de Música, Fundació Conservatori del Liceu.

DECEMBER 2022 SUNDAY 11

Prices 11.30 h

De 10 a 29 €

Approximate running time: 1 h 10 min Recommended for ages 8 and up

EL PETIT LICEU | 149

150 | SEASON 2022—2023

La cuina de Rossini AT T H E G R A N T E AT R E D E L L I C E U

January 2023—

a cuina de Rossini is about two young friends, Ros and Isabella, who embark on a journey of discovery and find themselves in a fascinating world where they get to know Rossini’s operas. In this magical tale full of contrasts, the two friends come to realize that differences are a source of enrichment and modern and traditional things can merge, complementing one another and facilitating mutual understanding. They also discover the importance of the love of music, a healthy lifestyle, determination and respect. Besides being a musical genius, Rossini was also an enthusiastic cook but the recipes this show teaches us are not only to do with food.

JANUARY 2023

Prices

SUNDAY 8

11 h

De 15 a 25 €

SATURDAY 14

11 h

De 15 a 25 €

SUNDAY 15

10.15 h

De 15 a 25 €

SUNDAY 15

12.45 h

De 15 a 25 €

11 h

De 15 a 25 €

SATURDAY 21*

Stage director Conductor and musical adaptation Dramaturgy Set design Director assistant Costume design Lightning Vídeo artist

David Selvas / La Brutal Andreu Gallén

Sergi Pompermayer Alejandro Andújar Norbert Martínez Maria Armengol Marc Salicrú Joan Rodón i Emilio Valenzuela (dLux.pro) Ilustrations Coaner Codina Performers Ensemble Conservatori Liceu

ROSSINI ROSS ISABELLA CENERENTOLA FIORELLO BASILI GUILLEM TELL

Federico de Oliveira Toni Viñals Neus Pàmies Mar Esteve Joan Garcia Gomà Xavi Fernández José Manuel Guinot

Approximate running time: 1 h 15 min Recommended for ages 6 and up (*) “Friendly performance” for those with attention deficit disorder and/or autism

EL PETIT LICEU | 151

152 | SEASON 2022—2023

La petita flauta màgica AT T H E G R A N T E AT R E D E L L I C E U

February del 2023—

apageno the bird-catcher tells us all about the wonderful adventures he had with his friend Prince Tamino when they set out together to rescue Princess Pamina, the daughter of the Queen of Night, from the clutches of the wicked Sarastro. A children’s version of Mozart’s Magic Flute by the Comediants company. The music, story and characters of Mozart’s last opera exert an irresistible attraction on young audiences and will leave no child indifferent. This dashing, eye-catching production is a regular feature of the Petit Liceu programme and has already been enjoyed by over 400,000 people.

Music Stage director Set and costume design Production

Wolfgang Amadeus Mozart Joan Font (Comediants) Joan Guillén

PAPAGENO TAMINO PAMINA QUEEN OF NIGHT SARASTRO MONOSTATOS ACTOR ACTRESS PIANO FLUTE

Elías Benito / Joan G. Gomà Marc Sala Ximena Agurto / Maia Planas Rocío de la Luz Juan Carlos Esteve Marc Pujol Ricard Fernández Eva Arqués /Eva Vilamitjana Josep Garcia Patricia de No

Gran Teatre del Liceu

(*) “Friendly performance” for those with attention deficit disorder and/ or autism, with the support of AENA

FEBRUARY 2023

Price

SATURDAY 25*

11 h

15 €

SUNDAY 26

11 h

15 €

Approximate running time: 1 h 10 min Recommended for ages 6 and up

EL PETIT LICEU | 153

154 | SEASON 2022—2023

Trencanous-jazz I N T H E F OY E R AT T H E G R A N T E AT R E D E L L I C E U

March 2023—

uppets and jazz. We’ve brought them together to tell you the fascinating story of The Nutcracker. This new present-day version takes a plural, inclusive view of the classic. To find the Karakatuk, the hardest nut in the world: that’s the challenge faced by Daniela and her mother, Mrs Drossel, in their bid to rescue Piri from the spell the Queen of the Mice has cast on him. The brave, determined Daniela finishes up turning into a wooden nutcracker, but she never stops being herself, or being who she wants to be. It will be no easy task. Dreams, fantasy and reality come together in this magical show, seen at close quarters, in which music from a jazz band blends with the delicate art of puppetry.

MARCH 2023

Stage director and dramaturgy Direction and musical coordination Set design and puppets Puppeteers Puppet design Costume design Lighting design Performers Musical arrangements

Joan M. Segura Toni Vaquer Zipit Company Glòria Arrufat, Paulette San Martín, Núria Olivé Martí Doy Paulette San Martín Ivo G. Suñé Ensemble Conservatori Liceu Estudiants i Alumni del Centre Superior de la Fundació Conservatori Liceu

Price

SATURDAY 11

11 h

15 €

SUNDAY 12

11 h

15 €

Approximate running time: 55 min Recommended for ages 5 and up

EL PETIT LICEU | 155

156 | SEASON 2022—2023

IT Dansa AT T H E T E AT R E - AU D I T O R I S A N T C U G AT

March 2023—

Dansa, the young dance company Artistic director of Barcelona's Institut del Teatre, is back at the Liceu this year with its characteristic energy and enthusiasm. Choreography It was formed in 1996 as the upshot of a Music teaching project and aims to help young dancers Costume design of both sexes to perfect their technique and Lighting become professionals. Its repertory includes Twenty-eight thousand waves by Cayetano Soto and The Prom by Lorena Nogal, a former member of the troupe. The third work, Lo que no se ve by Gustavo Ramírez, was created exclusively for IT Dansa in 2021, while the fourth, Kaash, is by the much acclaimed Akram Khan. This pleasing, varied programme with an attractive, up-to-date style would turn anyone into a dance-lover.

Catherine Allard TWENTYEIGHT THOUSAND WAVES

Cayetano Soto David Lang and Bryce Dessner Cayetano Soto Cayetano Soto THE PROM

Choreography Lorena Nogal Music One more kiss, dear, by Vangelis; Tensions, by Lindstom; and Can’t help falling in love, by Perfume Genius Set design Lorena Nogal Costume Manuel Rodríguez and Lorena design Nogal Lighting Víctor Cuenca LO QUE NO SE VE

Choreography Gustavo Ramírez Sansano Music Franz Schubert (Andante con

moto from the Piano Trio No. 2 in E flat major, D 929, Op. 100, and Adagio from the Nocturn in E flat major for piano trio, D 897, Op. 148, both played by the Stuttgart Piano Trio)

Set design Luis Crespo Portero i and lightning Gustavo Ramírez Sansano Costume design Emilio Morales KAASH

MARCH 2023

Price

SATURDAY 11

12 h

15 €

SATURDAY 11

18 h

15 €

Approximate running time: 1 h 15 min Recommended for ages 10 and up

Choreography Music Set design Costume design Lighting

Akram Khan Nitin Sawhney Anish Kapoor Kimie Nakano Aideen Malone FUNDACIÓN LOEWE sponsors the Dance Circle

EL PETIT LICEU | 157

158 | SEASON 2022—2023

La nit de Sant Joan AT T H E G R A N T E AT R E D E L L I C E U

April 2023—

Soirées de Barcelone was Robert Gerhard's second ballet, composed between 1936 and 1939 for the Ballet Russe de Monte-Carlo in response to a new commission from Colonel de Basil. They never premiered it, however, because the troupe was disbanded. Léonide Massine, who wanted a "Catalan ballet" based on Catalan dances and folk festivals, travelled to Berga to see the festivities for the eve of Saint John's Day (23 June). The result was a ballet with a scenario by Ventura Gassol which was originally called Els focs de Sant Joan (the Fires of Saint John's Day). To make the source of inspiration easier to identify abroad, the title was later changed to Soirées de Barcelone. The basic theme of the magical midsummer night is illustrated by a dance of torchbearers, which arouses the libido of the couples of dancers. They pair off and the ballet concludes with a dawn wedding.

The Liceu presents this coproduction with the Juan March Foundation to mark the fiftieth anniversary of the death of Gerhard, one of the best known Catalan composers the world over. Created by dancer and choreographer Antonio Ruz, it offers a refreshing, dream-like interpretation and a unique chance to enjoy his music. ANTONIO RUZ COMPANY

Director and Antonio Ruz choreographer Piano NN Costume design Rosa García Andújar Lighting Olga García Part of the collaboration between the Gran Teatre del Liceu and the Barcelona Provincial Authority which aims to foster the participation and artistic promotion of young dancers of both sexes. Coproduction with:

APRIL 2023

Prices

SATURDAY 29

11 h

De 15 a 20 €

SUNDAY 30

11 h

De 15 a 20 €

Approximate running time: 1 h 10 min Recommended for ages 8 and up

EL PETIT LICEU | 159

160 | SEASON 2022—2023

La Barcarola I N T H E F OY E R AT T H E G R A N T E AT R E D E L L I C E U

May 2023—

usic, images and the art of illustration interact in this live show to immerse the audience of small children in a striking experience of the senses.

Direction, dramaturgy Juan Pablo Mendiola and creative management Visual arts Patossa (Patrícia Barrachina) Music director Francesc Valldecabres Their imagination, feelings and development Musical Isabel Latorre arrangements are stimulated by the interaction of different Set design Los Reyes del Mambo idioms, offering music that helps them to see and images that help them to listen. Costumes Maria Almudéver Motion Graphics Laura Cuello In the course of this voyage of discovery, Soprano/violin Saray García two singers, two musicians and an illustrator Baritone/guitar Fran García present a selection of familiar operatic arias Pianist David Barberá which have been carefully arranged to please Instrumentalist Isabel Latorre small children. Actress Patossa The proximity of the stage in the Liceu’s Foyer (Patrícia Barrachina) facilitates eye-to-eye communication between performers and audience.

(*) “Friendly performance” for those with attention deficit disorder and/ or autism, with the support of AENA

MAY 2023

Price

SATURDAY 13

11 h

15 €

SUNDAY 14

11 h

15 €

SATURDAY 20*

11 h

15 €

Approximate running time: 45 min Recommended for ages 3 and up

EL PETIT LICEU | 161

162 | SEASON 2022—2023

El monstre al laberint AT T H E G R A N T E AT R E D E L L I C E U

June 2023—

his contemporary re-reading of the myth of Theseus and the Minotaur offers young people an initiation into culture and thought by means of an artistic experience which encourages them to reflect on their social environment. El monstre al laberint is a joint creation in which hundreds of young singers from schools and colleges share the stage with professional musicians and actors. With the stress on participation, it offers a chance for everyone – members of the audience and the cast alike – to find out more about opera.

Music Libretto Catalan traslation Musical director Stage director, set design and lighting Movement director Movement assistant Video Costume design TESEU MINOS MARE DÈDAL

Jonathan Dove Alasdair Middleton Marc Rosich Manel Valdivieso Paco Azorín Carlos Martos de la Vega Eulàlia Bergadà Pedro Chamizo Anna Güell Roger Padullés Marc Pujol Carol García Elías Arranz

Production Gran Teatre del Liceu CHORUS OF STUDENTS FROM DIFFERENT SCHOOLS

Buia Reixach i Feixas Chorus conductor ORCHESTRA OF THE LICEU CONSERVATORY

JUNE 2023

Price

THURSDAY 1

19 h

15 €

TUESDAY 6

19 h

15 €

Approximate running time: 1 h Recommended for ages 12 and up

EL PETIT LICEU | 163

164 | SEASON 2022—2023

Symphony

A virtual journey into the heart of music AT CA I X A F O R U M S HOW R ECOM M E N D E D BY TH E LICE U

Ongoing activity

an you imagine being able to attend a classical music concert taking place on the stage of the Liceu from a museum? CaixaForum makes it possible thanks to this unique immersive audiovisual experience which gives you a chance to listen to music as you have never done before. The project, entitled Symphony, takes place in two areas. In the first we meet musicians from all over the world who are preparing for a major concert and follow them about in their everyday lives thanks to images projected onto a large screen and a surround sound system which envelop us in a different visual and sound universe. In the second area, virtual reality equipment including special glasses enable us to undergo the immersive experience proper. Recordings made at the Gran Teatre del Liceu offer us a trip rich in emotions and music, the aim being to give the general public easier access to classical music. The audience get to experience and understand classical music as if they themselves were musicians in the orchestra. The visual and sound design uses virtual reality to combine real-life footage filmed with 360º cameras with computer-generated images, visual effects and state-of-the-art recording systems. Under the guidance of one of the world's most charismatic conductors, Gustavo Dudamel, and over a

Duration of the experience: 40 minutes Minimum age: 8 years

hundred musicians from the prestigious Mahler Chamber Orchestra, this unique experience will enable us to discover works by Beethoven, Mahler and Bernstein. Technology at the service of sensibility and creativity thanks to Dudamel, one of the conductors currently associated with the Liceu. Ongoing Daily, from 10 am to 2 pm and activity from 5 to 8 pm. Visitors must arrive 15 minutes early: entry will be refused once the session has begun. Tickets 8 euros. Customers of CaixaBank have a 50 % discount #SymphonyCaixaForum

Scan the QR code with your mobile phone and make your reservation.

EL PETIT LICEU | 165

I F YOU’R E U N D E R 35 WE MAKE IT EASY FOR YOU TO COM E TO TH E OPE RA A N D E N J OY T H E S H O W S AN D ALL OU R OTH E R OFFERS.

LICEUNDER 35 Season

22 23

Join the Community: 6,000 of us already have! 166 | SEASON 2022—2023

If you’re not a member yet, sign up free of charge on liceu.cat and enjoy all these exclusive benefits.

W W W. L I C E U . C AT

If you’re under 35 we make it easy for you to come to the opera and enjoy the shows and all our other offers.

LICE U N DE R35 COM M U N ITY B E PA R T O F T H E L I C E U O F T H E F U T U R E !

EUROS

PR IOR ITY TICKET PU R C HAS E

S P EC IAL AC TIVITI ES AN D DISCOU NTS

• Priority access to the purchase of tickets to LiceUnder35 shows 1 hour before they go on sale to the public.

Attend special activities for younger audiences, take part in exclusive draws and benefit from special discounts.

EXC LU S IVE PR I C ES. TI C KETS FO R 30 €

LICE U N DE R35 SHOWS FOR 20 E U ROS

• Purchase tickets to any opera or dance performance from 2 weeks before the premiere (seating capacity limited)

Exclusive advance premieres for young audiences for just 20 €. A unique experience for the under-35s including the show, a DJ in the Foyer and food stands. Offered four times a year at three operas and one dance performance:

• Last-minute ticket sales 3 hours before the show (choose from all the tickets still available). Purchases exclusively from liceu.cat and for registered members of the LiceUnder35 Community.

https://t.me/LiceUnder35 @liceuoperabarcelona

EUROS

Opera. Il trovatore. 26/10/2022. On sale from 26/09/2022 Opera. Tosca. 05/01/2023. On sale from 01/12/2022 Opera. Alexina B. 20-03-2023. On sale from 19/02/2023 Dance. Dido & Aeneas. 16-06-2023. On sale from 16/05/23 THE PLENSA ALPHABET | 167

season 2022—2023

eing a subscriber means being part of what makes the Liceu strong. It means loving culture, music, opera and art. And it also means a readiness to enjoy vital, intense emotion. But above all it entails a commitment to the Liceu, its 175-year history, and its future. The thrill and excitement each subscriber feels on discovering the new season gives us the strength to ensure that it will be both brilliant and unique.

OUR USUAL SUBSCRIPTIONS, MADE MORE FLEXIBLE THAN EVER We know you have a firm commitment to the Liceu and opera but we also realize you need maximum flexibility in your day-to-day life to make everything fit in. And precisely because you’ve told us this, your subscription will be 100% flexible from this season on. To be worthy of your commitment, we have to realize your plans can change. So now, for the first time, your subscription will permit unlimited changes of title so that, from the 22-23 season onwards, whichever subscription you choose, you can change as many titles are you like..

168 | SEASON 2022—2023

Subscriptions AND TICKETS

DISCOUNTS FOR SUBSCRIBERS By committing yourself to the season in advance, you can be sure of occupying your chosen seat at all subscription shows while enjoying a discount on the usual ticket price: 12-show subscriptions. 25 % discount 9-show subscriptions. 25 % discount 6-show subscriptions 20 % discount atuïta 3-show subscriptions 15 % discount There are many reasons to have one Reduced subscription is the best option. This season ticket is ideal for those who have an intense cultural life but they want to devote part of his budget for the opera, curiosity to discover the genre or little time in your day to day life.

LICEU+ LIVE: THE LICEU’S D I G I TA L SEASON Our second season of celebrations for the Liceu’s 175th anniversary is underway and, after launching our audiovisual platform Liceu+, we now present the Liceu+ LIVE subscription to the Liceu’s digital season. Available to all subscribers for just 30 € (usual price: 60 €), it includes 5 of the season’s operas, excellent visual quality (both live performances and edited versions with unique user features) and access to all audiovisual materials offered by the Liceu (interviews, talks, press conferences, and operas from previous seasons which will be released from time to time). The perfect complement, in other words, to your other subscription.

Liceu Dance Suscription. 30 % discount All subscribers enjoy a 20 % discount on extra tickets bought any time during the season.

SUBSCRIPTIONS AND TICKETS | 169

season 2022—2023

100% F LE X I B I LIT Y • Changing titles and performance dates. NEW! Starting this season you can make unlimited changes to the titles in your subscription (if the new ticket chosen is more expensive, you must pay the difference). This way you can ensure that your Liceu subscription is perfectly tuned to your agenda. Title changes: up to 7 days before the function. Function changes: up to 24 hours before the function. These changes can be made, from 5 September onwards, exclusively through your Personal Zone. • Vacant Seat Service. Offer your ticket for sale. If you can’t use your ticket, you can offer it for sale at whatever price you decide up to 24 hours before the show. The price proposed cannot exceed the standard price for the zone and performance. If the ticket is sold, the Liceu will refund 50% of the sale price, minus VAT and a handling charge. Service available from 13 June. • Payment in four instalments at no extra cost (due dates: 01-07-22, 01-09-22, 01-11-22 and 01-01-23).

SPECIAL DISCOUNTS ON TICK ETS, ACTIVITI E S, S E R V I C E S A N D OT H E R ITEMS • Discounts of 25%, 20% or 15% on Regular Seat subscriptions (depending on the series) and 10% on Flexible subscriptions • 20% discount on extra tickets bought any time during the season. • Discount on restaurant service during the interval • Discounts at various car parks near the Liceu (apply to the Box Office or inside the Auditorium) • 50% discount on all tours. • NEW! Discounts at other cultural facilities: special prices at theatres, concert halls and at the Verdi cinemas (Tuesday to Thursday, except public holidays and the eves of holidays). In the course of the season, other subscriber discounts will be announced as they become available.

BEING OUR CENTRE OF AT T E N T I O N • Priority purchase of tickets to the season’s shows before they go on sale to the general public (no handling charge).

170 | SEASON 2022—2023

The advantages OF SUBSCRIBING TO THE LICEU

• Liceu subscriber’s card. NEW! You can download our digital subscriber’s card from your Personal Zone to your mobile phone. • Personalized attention from the subscriber attention service by phone and email, as well as at the box office and in the Auditorium during performances. • A luxury edition of the season’s programme will be sent to your home address. It includes full details of shows, as well as interviews, articles, etc. and practical information about the season. LClub subscriber’s card (over 20 years’ tenure). This special card attesting to your years of tenure gives priority access to all activities, gatherings and rehearsals. LCLUB subscribers will receive information about such events by email.

A C C E S S T O G AT H E R I N G S , R E H E A R S A LS A N D OT H E R EVENTS • Liceu+ LIVE, the subscription to the Liceu’s digital season is available to all subscribers on the new Liceu+ audiovisual platform at the special price of 30 €. More information on page 177. • Attendance at the official presentation of the new season.

• Attendance at dress rehearsals of a selection of the season’s operas. Seats will be reserved exclusively for subscribers, who will be informed about arrangements in due course. Es reservaran places exclusives per als abonats i s’informarà puntualment de com accedir-hi. • Liceu down the Generations: how can we hand down the love of opera to coming generations? This scheme, which we offer for the second year in succession, enables subscribers to purchase up to 4 tickets at a flat rate of 35 € and come to the show with those dearest to them (two accompanying persons must be aged between 14 and 28; offer valid just once in the season). Any one of the following operas may be selected: • Don Pasquale: Saturday 01-10-2022 at 7 pm • Il trovatore: Saturday 05-11-2022 at 7 pm • Macbeth: Saturday 25-02-2023 at 7 pm • Manon: Saturday 22-04-2023 at 6 pm Sales start on 5 SEPTEMBER at 10 am. Detailed updated information about how to take part in these different activities will be posted on liceu.cat and sent regularly to subscribers by email.

SUBSCRIPTIONS AND TICKETS | 171

Regular seats

SHOWS TURNS A, B, C and T

SUBSCRIPTIONS

Turns A

25 % off

DON PASQUALE

Monday

03/10/2022

19h

IL TROVATORE

Monday

07/11/2022

19h

IL TRITTICO

Monday

05/12/2022

19h

TOSCA

Tuesday

17/01/2023

19h

JUNGLE BOOK REIMAGINED

Monday

30/01/2023

19h

MACBETH

Tuesday

28/02/2023

19h

7 DEATHS OF MARIA CALLAS

Thursday

09/03/2023

19h

MANON

Monday

24/04/2023

19h

PARSIFAL

Tuesday

30/05/2023

19h

ORFEO ED EURIDICE

Thursday

08/06/2023

19h

DIDO & AENEAS

Tuesday

20/06/2023

19h

L’INCORONAZIONE DI POPPEA

Monday

10/07/2023

19h

Price

Price of subscription (25% off) 1.824 1.604 1.310 Price of non-subscription tickets Saving

998 749

516 357 129 2.481

2.428 2.133 1.748 1.327 997

686 475 175 3.305

604

529

Turns B

438

329 248

170 118

824

25 % off

DON PASQUALE

Thursday

06/10/2022

19h

IL TROVATORE

Thursday

27/10/2022

19h

IL TRITTICO

Thursday

01/12/2022

19h

TOSCA

Wednesday

04/01/2023

19h

JUNGLE BOOK REIMAGINED

Wednesday

25/01/2023

19h

MACBETH

Wednesday

22/02/2023

19h

Friday

10/03/2023

19h

MANON

Thursday

20/04/2023

19h

PARSIFAL

Thursday

25/05/2023

19h

Wednesday

21/06/2023

19h

Thursday

13/07/2023

19h

Wednesday

19/07/2023

19h

7 DEATHS OF MARIA CALLAS

DIDO & AENEAS SONDRA RADVANOVSKY I PIOTR BECZAŁA RECITAL L’INCORONAZIONE DI POPPEA

Price

Price of subscription (25% off) 1.809 1.588 1.303 Price of non-subscription tickets Saving

172 | SEASON 2022—2023

990 738

501 346 126 2.421

2.408 2.112 1.738 1.317 982

665 460 170 3.224

599

524

435

327 244

164 114

803

Regular seats

SHOWS SERIES A, B, C and T

SUBSCRIPTIONS

Turns C

25 % off

DON PASQUALE

Saturday

01/10/2022

19h

CECILIA BARTOLI IN CONCERT

Saturday

29/10/2022

19h

IL TROVATORE

Saturday

05/11/2022

19h

IL TRITTICO

Saturday

03/12/2022

19h

TOSCA

Saturday

07/01/2023

19h

JUNGLE BOOK REIMAGINED

Saturday

28/01/2023

21.30h

Friday

03/03/2023

19h

7 DEATHS OF MARIA CALLAS

Saturday

11/03/2023

19h

MANON

Saturday

29/04/2023

19h

Sunday

28/05/2023

18h

L’INCORONAZIONE DI POPPEA

Saturday

14/07/2023

19h

COPPÉL-I.A.

Saturday

29/07/2023

21h

MACBETH

PARSIFAL

Price

Price of subscription (25% off) 1.811 1.586 1.308 Price of non-subscription tickets Saving

993 742

515 362 126 2.440

2.412 2.112 1.744 1.322 987

685 481 170 3.249

601

526

Turns T

436

329 245

170 119

809

25 % off

DON PASQUALE

Sunday

25/09/2022

17h

IL TROVATORE

Sunday

06/11/2022

17h

DAVIDSEN, MEIER I THEORIN CONCERT

Sunday

13/11/2022

17h

IL TRITTICO

Sunday

27/11/2023

17h

TOSCA

Sunday

08/01/2023

17h

MACBETH

Sunday

19/02/2023

17h

MAHLER’S UNIVERSE (I): 3RD SYMPHONY

Sunday

02/04/2023

17h

MANON

Sunday

30/04/2023

17h

PARSIFAL

Sunday

04/06/2023

17h

DIDO & AENEAS

Sunday

18/06/2023

17h

SONDRA RADVANOVSKY I PIOTR BECZAŁA RECITAL

Sunday

16/07/2023

17h

COPPÉL-I.A.

Sunday

30/07/2023

17h

Price

Price of subscription (25% off) 1.688 1.479 1.220 Price of non-subscription tickets Saving

933 688

466 327 123 2.288

2.247 1.968 1.627 1.242 916

619 435 165 3.047

559

489

407

309 228

153 108

SUBSCRIPTIONS AND TICKETS | 173

759

Regular seats

SHOWS SERIES D, E and H

SUBSCRIPTIONS

25 % off

Turns D DON PASQUALE IL TROVATORE

Tuesday

27/09/2022

19h

Friday

28/10/2022

19h 19h

TOSCA

Monday

16/01/2023

JUNGLE BOOK REIMAGINED

Thursday

26/01/2023

19h

MACBETH

Thursday

16/02/2023

19h

Tuesday

21/03/2023

19h

MANON

ALEXINA B.

Wednesday

26/04/2023

19h

PARSIFAL

Wednesday

07/06/2023

19h

Thursday

20/07/2023

19h

MAHLER’S UNIVERSE (II): 6TH SYMPHONY

Price

Price of subscription (25% off)

1.187

1.044

866

664

486

340

241

1.654

Price of non-subscription tickets

1.580

1.389

1.153

884

647

451

320

120

2.202

393

345

287

220

161

111

548

Saving

25 % off

Turns E DON PASQUALE IL TRITTICO

Thursday

22/09/2022

19h

Friday

09/12/2022

19h

TOSCA

Friday

20/01/2023

19h

ALCINA

Friday

17/02/2023

19h

MACBETH MANON

Saturday

25/02/2023

19h

Friday

21/04/2023

19h

PARSIFAL

Friday

02/06/2023

19h

L’INCORONAZIONE DI POPPEA

Friday

21/07/2023

19h

COPPÉL-I.A.

Friday

28/07/2023

19h

Tarifes

Price of subscription (25% off)

1.383

1.203

985

751

563

390

275

1.859

Price of non-subscription tickets

1.842

1.602

1.315

999

749

518

365

130

2.476

459

399

330

248

186

128

617

Saving

25 % off

Turns H IL TROVATORE

Tuesday

08/11/2022

19h

IL TRITTICO

Tuesday

29/11/2022

19h

TOSCA

Thursday

19/01/2023

19h

MACBETH

Thursday

23/02/2023

19h

ALEXINA B.

Wednesday

22/03/2023

19h

Thursday

27/04/2023

19h

MANON DIDO & AENEAS

Monday

19/06/2023

19h

L’INCORONAZIONE DI POPPEA

Monday

17/07/2023

19h

Wednesday

26/07/2023

19h

COPPÉL-I.A.

Price

Price of subscription (25% off)

1.292

1.129

933

713

528

367

260

1.757

Price of non-subscription tickets

1.721

1.503

1.244

949

703

487

345

125

2.339

429

374

311

236

175

120

582

Saving

174 | SEASON 2022—2023

Regular seats

SHOWS SERIES F, G and P

SUBSCRIPTIONS

Turns F

20 % off

DON PASQUALE

Sunday

09/10/2022

18h

IL TROVATORE

Sunday

30/10/2022

18h

IL TRITTICO

Sunday

11/12/2022

18h

Friday

13/01/2023

19h

TOSCA MACBETH MANON

Price

Sunday

26/02/2023

18h

Saturday

22/04/2023

18h

Price of subscription (20% off) 1.036

908

746

566 426

294 204

72 1.380

1.292 1.132

930

706 531

366 255

90 1.728

184

140 105

Price of non-subscription tickets Saving

256

224

Turns G

348

20 % off Wednesday

02/11/2022

19h

IL TRITTICO

Thursday

15/12/2022

19h

TOSCA

Tuesday

10/01/2023

19h

SARA BLANCH I XABIER ANDUAGA RECITAL

Friday

24/03/2023

19h

ORFEO ED EURIDICE

Friday

09/06/2023

19h

Wednesday

12/07/2023

19h

IL TROVATORE

L’INCORONAZIONE DI POPPEA

Price Price of subscription (20% off) Price of non-subscription tickets Saving

915

804

665

510 377

261 184

68 1.255

1.141 1.003

829

636 470

325 230

85 1.571

164

126

226

199

Turns P

316

20 % off

IL TROVATORE

Thursday

03/11/2022

19h

IL TRITTICO

Tuesday

13/12/2022

19h

Wednesday

18/01/2023

19h

Monday

20/02/2023

19h

Wednesday

03/05/2023

19h

Thursday

27/07/2023

19h

TOSCA MACBETH MANON COPPÉL-I.A.

Price Price of subscription (20% off) Price of non-subscription tickets Saving

983

855

706

534 398

277 196

68 1.308

1.226 1.066

880

666 496

345 245

85 1.637

174

132

243

211

SUBSCRIPTIONS AND TICKETS | 175

329

Regular seats

SHOWS SERIES PB, PC, PD and PE

SUBSCRIPTIONS

Turns PB

15 % off

TOSCA

Saturday

21/01/2023

19h

MACBETH

Saturday

18/02/2023

19h

ALEXINA B.

Saturday

18/03/2023

19h

Price

Price of subscription (15% off)

394

342

Price of non-subscription tickets

463 69

Saving

282

219 157

114

556

402

333

258 186

133 100

655

Turns pc

15 % off

IL TROVATORE

Monday

31/10/2022

19h

TOSCA

Thursday

12/01/2023

19h

MANON

Tuesday

02/05/2023

19h

Price

Price of subscription (15% off)

466

413

338

258 189

133

650

Price of non-subscription tickets

549

486

399

304 223

155 113

764

114

Saving

Turns PD

15 % off

DON PASQUALE

Saturday

08/10/2022

18h

TOSCA

Saturday

14/01/2023

19h

MANON

Sunday

23/04/2023

18h

Price

Price of subscription (15% off)

471

410

332

253 188

133

649

Price of non-subscription tickets

554

482

392

299 222

156 114

765

116

Saving

Turns PE

15 % off

IL TRITTICO

Wednesday

07/12/2022

19h

TOSCA

Wednesday

11/01/2023

19h

MACBETH

Wednesday

01/03/2023

19h

Price

Price of subscription (15% off)

510

441

360

272 203

144 105

676

Price of non-subscription tickets

599

518

424

321 240

169 123

796

120

Saving

176 | SEASON 2022—2023

Liceu Dance

SUBSCRIPTION

LICE U DANCE SUBSCRIPTION

30%

• All dance shows in the Main Auditorium are included, at a 30% discount.

OFF

The Liceu has a commitment to all the performing arts and reiterates its support to dance this season by staging three dance performances in the Main Auditorium. In response to a long-standing request from ballet-lovers, we are also consolidating our dance season for the second year running by offering the Liceu Dance subscription:

Dance

• Subscribers can keep the same seat throughout the season. • The subscription is automatically renewed from year to year. • It offers all the benefits of other Liceu subscriptions. These subscriptions will be available from 20 April 2022 onwards.

30 % off

JUNGLE BOOK REIMAGINED

Saturday

28/01/2023

17h

DIDO & AENEAS

Saturday

17/06/2023

19h

COPPÉL-I.A.

Saturday

29/07/2023

17h

Price

Price of subscription (30% off)

318

279

Price of non-subscription tickets

454

Saving

136

FLEXI B LE SU B SCR I PTION

233

174 128

446

399

333

248 183

126

637

120

100

191

10% OFF

Take out a made-to-measure subscription comprising at least 3 shows at a 10% discount. These subscriptions allow you to make your own choice from the season’s shows. The minimum number of shows is 3 and you can select a different area and seat for each.

«T R I A E L S T E U S E S P E C TA C L E S FAVO R I T S A M B U N 1 0 % D E D E S C O M P T E. »

Flexible Subscriptions are not automatically renewed. A new application must be made each year. On sale from 23 May 2022. del 2022.

SUBSCRIPTIONS AND TICKETS | 177

Subscribers’ CALE N DAR

APRIL 2022 M

11 12 13 14 15 16 17

MAY 2022

10 11 12

13 14 15 16 17 18 19

16 17 18 19 20 21 22

20 21 22 23 24 25 26

/30

/31 25 26 27 28 29

FROM 23 MAY AND THROUGHOUT THE SEASON

• Changing subscriptions to a different series and/or seat. • Changing from a Flexible to a Regular Seat subscription. • Cancellations.

10 11 12 13 14 15

FROM 20 APRIL TO 6 MAY

18 19 20 21 22 23 24 25 26 27 28 29 30

JUNE 2022

• Flexible subscriptions on sale.

27 28 29 30 FROM 7 JUNE • Priority ticket sales for subscribers. FROM 13 JUNE • All the season’s tickets go on sale • Vacant seat service.

FROM 20 APRIL AND THROUGHOUT THE SEASON • New Regular Seat subscriptions on sale (including the Liceu Dance subscription)

JULY 2022 M

SEPTEMBER 2022

10 11

11 12 13 14 15 16 17

12 13 14 15 16 17 18

18 19 20 21 22 23 24

19 20 21 22 23 24 25

25 26 27 28 29 30 31

26 27 28 29 30

1 JULY

5 SEPTEMBER

• Payment falls due (full price or first instalment, if paid by instalments).

• Subscription performance dates and titles may be changed.* • Tickets for “Liceu down the Generations” go on sale

* Changes to subscription series can be made through the Personal Zone on the website (liceu.cat) or by phone. They cannot be made at the box office. Changes of performance date, title or seat can only be made through the Personal Zone.

178 | SEASON 2022—2023

Comença la primera temporada digital. Abona't! Preu especial abonats: 30€ / temporada Preu normal abonament: 60€ / temporada

LIVE 30/4/23 EDICIÓ PREMIUM 11/5/23

Manon

LIVE 25/2/23 EDICIÓ PREMIUM 9/3/23

Macbeth

LIVE 16/1/23 EDICIÓ PREMIUM 26/1/23

Tosca

LIVE 3/12/22 EDICIÓ PREMIUM 15/12/22

Il trittico

LIVE 5/11/22 EDICIÓ PREMIUM 17/11/22

Il trovatore

Volem que els abonats del Liceu sigueu els primers en viure l'òpera com mai l'heu vista abans. Abona’t a partir del 5 d’abril!

La plataforma del Liceu ofereix: cinc òperes en LIVE directe amb imatge 4K HD, un mestre de cerimònies, entrevistes al backstage, xat en viu i subtítols multiidioma. I després dels LIVE, mira-les en l’Edició Premium amb funcionalitats exclusives: Selecció multicàmera

Comentaris musicals i artístics

Partitura en pantalla

Torna a veure-les sempre que vulguis i descobreix nous detalls cada vegada!

www.liceuplus.com

Disponible a

SUBSCRIPTIONS AND TICKETS | 179

Seats

Main Auditorium

DUDAMEL CONDUCTS MAHLER’S 9TH SYMPHONY

176

157

127

255

DON PASQUALE

182

162

131

101

263

DON PASQUALE (8/10/2022)

164

146

118

237

IL TROVATORE

197

177

146

111

278

IL TROVATORE (31/10/2022)

177

159

131

100

250

CECILIA BARTOLI IN CONCERT

232

207

177

136

101

298

DAVIDSEN, MEIER I THEORIN CONCERT

182

162

131

101

263

IL TRITTICO

232

202

167

126

298

IL TRITTICO (7/12/2022)

209

182

150

113

268

TOSCA (4, 7, 10, 13, 16, 17, 19 i 20/1/2023)

232

202

167

126

298

TOSCA (8 i 18/1/2023)

217

187

152

116

293

TOSCA (11, 14 i 21/1/2023)

195

168

137

104

264

TOSCA (12/1/2023)

177

159

131

100

250

JUNGLE BOOK REIMAGINED

141

126

106

197

TENOR VIÑAS CONTEST

MACBETH

217

187

152

116

293

MACBETH (18/2 i 1/3/2023)

195

168

137

104

264

ALCINA

182

162

131

101

263

7 DEATHS OF MARIA CALLAS

182

162

131

101

263

ALEXINA B. (#LICEUNDER35)

ALEXINA B.

141

ALEXINA B. (18/3/2023)

127

SARA BLANCH AND XABIER ANDUAGA RECITAL

141

MAHLER’S UNIVERSE (I): 3RD SYMPHONY

141

MANON (20, 22, 24, 27 i 30/4; 3/5/2023)

232

202

167

126

298

IL TROVATORE (#LICEUNDER35)

TOSCA (#LICEUNDER35)

180 | SEASON 2022—2023

MANON (21, 26 i 29/4/2023)

217

187

152

116

293

MANON (23/4 i 2/5/2023)

195

168

137

104

264

PARSIFAL

232

202

167

126

298

ORFEO ED EURIDICE

182

162

131

101

263

DIDO & AENEAS

182

162

131

101

263

L’INCORONAZIONE DI POPPEA

217

187

152

116

293

SONDRA RADVANOVSKY AND PIOTR BECZALA RECITAL

162

141

121

182

MAHLER’S UNIVERSE (II): 6TH SYMPHONY

141

131

111

177

El petit Liceu

ELS MÚSICS DE BREMEN

MIRALLS (SALA FOYER)

EL CONTE DE NADAL DE CHARLES DICKENS

LA CUINA DE ROSSINI

LA PETITA FLAUTA MÀGICA

IT DANSA (TEATRE-AUDITORI SANT CUGAT)

TRENCANOUS-JAZZ (SALA FOYER)

LA NIT DE SANT JOAN

LA BARCAROLA (SALA FOYER)

EL MONSTRE AL LABERINT

Liceu Apropa

THE LOST CAT

DIDO & AENEAS (#LICEUNDER35)

COPPÉL-I.A.

Foyer room

Price únic

MONTEVERDI’S – MADRIGALS (III and IV)

MÚSICA DE CAMBRA

(OH!)PERA

The Liceu guarantees the authenticity of tickets bought through official sales channels. Tickets are available from liceu. cat and the Liceu box office and also through the following authorized outlets: Time Out, Promentrada, Entradas de Vanguardia, Teatre Barcelona and TRESC.

Other Areas

15 10

Price únic

WINTERREISE (THE WINTER 35 JOURNEY) WITH ANTONIO LÓPEZ *Seat prices will rise when sales for a particular zone exceed 70% of its capacity.

General conditions applying to the purchase of tickets on the website liceu.cat are stated in the course of the purchase process. To consult general rules applying to the opera house and its services during performances, follow this link:

SUBSCRIPTIONS AND TICKETS | 181

Groups, special conditions and sales outlets FAM I LI E S El PETIT LICEU Discounts are also available on family shows: 20% off the purchase of 4 or more tickets to the same Petit Liceu show. LICEU DOWN THE GENERATIONS A way of handing down the passion for opera to coming generations. Special price: 35 €. More information on page 169.

S PE CIAL OCCAS I ON S

making priority advance bookings. For more information and conditions: info@ liceubarcelona.cat LICEUNDER35 COMMUNITY A plethora of advantages for those under 35 (on page 181). LICEU APROPA The Liceu’s social programme, which aims at accessibility and inclusiveness for those in vulnerable situations. (on page 184). Full information from liceu.cat

OPERA GIFT BOXES Give someone "Liceu" for Christmas. We offer Christmas boxes containing a choice of operas and dance performances at special rates. On sale from December onwards through the web site or at the box office. GIFT VOUCHERS "Liceu": the ideal gift. These vouchers, exchangeable for tickets worth 20 € or more, are valid for 2 years. A memorable outing to one of the country’s most emblematic venues.

G R OU PS AN D AS S OCIATI ON S THE LICEU REACHES OUT Associations and other groups have a chance to discover opera and come to the Liceu in a different way by taking part in the free talks about the titles on the bill which are organized all over the country. For more information and conditions: territori@ liceubarcelona.cat TRAVEL AGENCIES AND GROUPS The Liceu offers travel agencies and groups special conditions for purchasing tickets and

182 | SEASON 2022—2023

L I CE U SA LE S OUTLETS Tickets can be bought online from: • liceu.cat • By phone: 902 787 397* / 934 859 913 (Monday to Friday, from 10 am to 6 pm) • At the box office: La Rambla 51-59, 08002 Barcelona, at the following times: – Monday to Friday, 10 am to 7 pm – Saturday, 10 am to a 6 pm (open till the show starts on performance days) – Sundays and holidays, closed (on performance days only: open till 2 hours before the show starts or till 1 hour before in the case of Petit Liceu shows) CUSTOMER HELP LINE • Telephone: 902 787 397 or 934 859 913 (Monday to Friday, 10 am to 6 pm) • E-mail: info@liceubarcelona.cat *Special rates apply to calls.

AQUESTES SÓN LES EINES QUE EL LICEU POSA AL TEU ABAST PER A QUÈ LA TEVA EXPERIÈNCIA A L'ÒPERA SIGUI COMPLETA LICEU+

liceuplus.com

CONTINGUT AUDIOVISUAL GRATUÏT AMB REGISTRE PREVI

ELS CAPÍTOLS DE LES ÒPERES: moments històrics, musicals, sobre la producció i les veus. Temps mig de visualització per capítol: 3 minuts. LA PRÈVIA, el podcast del Liceu. Escolta’l quan vulguis i on vulguis! Descobreix totes les claus de l'òpera d'una manera fascinant en només 15 minuts.

LICEU.CAT

CONTINGUT DIGITAL GRATUÏT

LA VEU DEL LICEU. Articles signats per periodistes, entrevistes i informació per contextualitzar l’òpera. PROGRAMA DE MÀ de les òperes, concerts i recitals, versions concert i ballets.

Si sou abonats o heu adquirit localitats, dos dies abans de la funció us enviarem un correu electrònic recordatori i un accés directe a tot aquest contingut. SUBSCRIPTIONS AND TICKETS | 183

Liceu Apropa

ecause we have a commitment to accessibility, because we believe that music makes people’s lives better, and because we want guaranteed inclusion for everyone, the Liceu has developed programmes and services inspired by equality and excellence for those in a vulnerable situation. Feel part of the Liceu. Experience the Liceu.

The social programme Liceu Apropa is offered thanks to the support of: 184 | SEASON 2022—2023

Programmes OPE RA WITH I N EASY R EACH The Liceu will visit your organization to tell you about opera in an entirely new way: by means of specially adapted, easily understandable talks with music played live by musicians from our Orchestra. And to complete the experience, you can enjoy a rehearsal at the opera house. Activity for social organizations. No charge. Numbers limited. Send an email to liceuapropa@liceubarcelona.cat and we’ll contact you immediately.

COM E I N S I D E TH E LI CE U Would you like to see how and where the Liceu’s Chorus and Orchestra rehearse? And enjoy a guided tour of the opera house? Sign up for "Come inside the Liceu". Activity for social organizations. Price: 3€ per person. Maximum 12 persons per group. Make a reservation for your group on liceuapropa@liceubarcelona.cat and discover the unknown side of the Liceu.

M U S I C WOR K S H OPS F OR CH I LD R E N S U FFE R I N G FR O M TEA AN D TH E I R FAM I LI E S These special workshops are a way of introducing children with TEA to singing and opera. As well as the workshop, the activity includes attendance at a "friendly performance" of one of the Petit Liceu shows. Numbers limited. For more information, send an email to: liceuapropa@liceubarcelona.cat Amb el suport d’AENA.

LI CE U FR I E N D LY PE R F OR MAN CE S Just imagine: at this show the Auditorium isn’t in darkness, there are areas for resting, and the signs have pictograms! If you have attention deficit disorder and/or autism and would like to enjoy

a Petit Liceu show, come to one of the "friendly performances" which are available for certain Petit Liceu titles. For more information, email: liceuapropa@liceubarcelona.cat Amb el suport d’AENA.

TOUCH TH E LICE U If you’re visually impaired and plan to attend a performance with audio description, enrol for Toca Liceu as well! Enjoy an exclusive tour of the dressmaking and costume design departments with staff members as your guides. Touch the costumes and wigs and feel the fabrics, shapes and textures. Numbers limited. Groups of up to 12. Price: 3€. Visit apropacultura.cat to book.

COM E TO TH E LI CE U TH R OU G H APR OPA CU LTU RA We want to make sure that the disabled and others in a vulnerable situation really do have access to opera. How? By offering social organizations in the Apropa Cultura programme over three thousand tickets to all the season’s shows. The seats, in the stalls or dress circle, cost 3 € each. See the calendar for bookings on apropacultura.cat. If you have a query you can also email us at liceuapropa@liceubarcelona.cat indicating the name of the activity.

R HYTH M S I N COM PANY LICEUAPROPA is participating in "Rhythms in company", a programme run by ApropaCultura under which musicians from the Orchestra offer music workshops to accompany those with severe mental disorders who are in hospital or receiving treatment as out-patients. More information on: https://www.apropacultura. cat/ca/ritmes-companyia LICEU APROPA | 185

PERA PRIMA, our new line in community opera, will give rise to a new opera every three years by means of a co-creation process in which local communities team up with artists and professionals from the field. The aim is to guarantee access to culture for persons in a vulnerable situation or who have little contact with opera and to forge tools of social transformation and integration.

The Liceu is a partner in the European project TRACTION, Grant Agreement 870610, which lays technological innovation at the service of community artistic co-creation.

Image co-created by users of the Sínia occupational centre and students from the Escola Massana.

186 | SEASON 2022—2023

The first title to arise from this new project is La gata perduda ("The Lost Cat"), an opera co-created with residents of Barcelona’s Raval district and numerous local associations. The first performance is scheduled for October 2022. It has music by Arnau Tordera and an original dramaturgy by Victoria Szpunberg. Ricard Soler Mallol is the stage director and Alfons Reverté the music director.

Services

Benefits

OFFE R E D BY LI CE U APR OPA

DI SAB LE D P EOP LE

• Surtitles in Catalan above the proscenium arch at all operas. • Surtitles in Catalan, Spanish and English on the individual screens in the Auditorium. • Monitors showing a static camera shot of the stage at all seats with limited or no visibility. Seats in the front row of the upper tiers are not equipped with individual screens. • Special areas set aside for persons in wheelchairs at discount prices. • Wheelchairs at the disposal of members of the audience.

DISCOUNTS

80%

• Persons in wheelchairs: 80% discount for the wheelchair occupant and 50% for one accompanying person.

50%

• Persons not in wheelchairs:*

OFF

30% OFF

– Aged 18 or over: 30% discount, also applicable to 1 accompanying person.

• Platform lift in the Main Lobby. • Zero-step access to lifts in the lobby at the Carrer Sant Pau entrance.

*A Catalan government disabled person’s card and official identity card must be shown. Tickets must be purchased from the box office.

• Disabled toilets at the stalls, dress circle and second tier levels, and in the Foyer • Audio description provided at one performance of each dramatized opera (for dates see the foot of the relevant page).

30% OFF

• Braille layout map and tactile surface indicators in the Main Lobby. • Braille guides to areas of the opera house open to the public. • Hearing loop system in the Auditorium, the box office and the Rambla and Foyer cloakrooms for those with cochlear implants and/or hearing aids. • Plot synopses of all dramatized operas prepared in accordance with international easy-to-read guidelines in both Catalan and Spanish (for those with intellectual disabilities, reading difficulties, aphasia, etc.). Available from https://www. liceubarcelona.cat

– Below 18 years of age: 30% discount, also applicable to 3 accompanying persons from the same family.

30% OFF

U N E M P LOYE D P EOP LE 30% discount on the day of the performance, available from the box office 3 hours before the show. Accreditation must be shown. On Sundays and holidays, from 2 hours in advance.

S I NG LE-PAR E NT FAM ILI E S, LARG E FAM I LI E S AN D FOSTE R FAM I LI E S 30 % discount on Petit Liceu shows. Apply to the box office at time of purchase. For more information about Liceu Apropa: liceuapropa@liceubarcelona.cat

• Anticipation guides with pictograms illustrating access to the opera house and all Petit Liceu shows (for those with attention deficit disorder and/or autism spectrum disorder). Available on the Liceu web site.

SERVICES AND BENEFITS | 187

Season 2022—2023

OPERAS

CONCERTS AND RECITALS

DANCE

CHAMBER MUSIC

EL PETIT LICEU

TALKS

EXHIBITIONS

CA LE N DA R 188 | SEASON 2022—2023

September 2022

Don Pasquale.

19h

19h (Turns E)

DUDAMEL CONDUCTS MAHLER’S 9TH SYMPHONY

DON PASQUALE

17h (Turns T)

19h

DON PASQUALE

19h (Turns D)

CALENDAR | 189

October 2022

Scene from Il trovatore.

DON PASQUALE

19h (Turns C)

DON PASQUALE

19h (Turns A)

19h

19h (Turns B)

19h

THE LOST CAT

DON PASQUALE

18h (Turns

18h (Turns F)

THE LOST CAT

DON PASQUALE

PD)

DON PASQUALE

INSTALLATION FLÁVIA JUNQUEIRA

IL TROVATORE

19h

19h (Turns B)

19h (Turns D)

(LiceUnder35) EXHIBITION FLÁVIA JUNQUEIRA

Until 3/11/22

31 IL TROVATORE

19h (Turns PC)

190 | SEASON 2022—2023

CECILIA BARTOLI IN CONCERT

19h (Turns C)

IL TROVATORE

18h (Turns F)

November 2022

Scene from Il trittico.

IL TROVATORE

19h (Turns G)

19h (Turns P)

11h

IL TROVATORE

19h (Turns C)

17h (Turns T)

ELS MÚSICS DE BREMEN

IL TROVATORE

MIRALLS

19h (Turns A)

19h (Turns H)

11h DAVIDSEN, MEIER AND THEORIN CONCERT

17h (Turns T)

MIRALLS

11h

CONVERSA DAVIDSEN/ JAHO/MÄLKKI/ DE BEER

18h

MONTEVERDI’S MADRIGALS (III)

27 IL TRITTICO

17h (Turns T)

20h

IL TRITTICO

19h (Turns H)

CALENDAR | 191

CALENDARI

December 2022

Rinaldo Alessandrini.

IL TRITTICO

19h (Turns B)

IL TRITTICO

19h (Turns C)

IL TRITTICO

19h (Turns A)

19h (Turns PE)

19h (Turns E)

18h (Turns F) EL CONTE DE NADAL DE CHARLES DICKENS

11.30h

IL TRITTICO

19h (Turns P)

19h (Turns G)

192 | SEASON 2022—2023

January 2023

Scene from Tosca.

1 2

TOSCA

19h (Turns B)

18h

19h (Turns C)

(LiceUnder35)

LA CUINA DE ROSSINI

11h TOSCA

17h (Turns T)

TOSCA

19h (Turns G)

19h (Turns PE)

19h (Turns PC)

19h (Turns F)

11h

10.15h / 12.45h

LA CUINA DE ROSSINI TOSCA

LA CUINA DE ROSSINI

19h (Turns PD)

TOSCA

19h (Turns D)

19h (Turns A)

19h (Turns P)

19h (Turns H)

19h (Turns E)

LA CUINA DE ROSSINI

11h TOSCA

19h (Turns PB)

19h (Turns A)

19h

JUNGLE BOOK REIMAGINED

19h (Turns B)

19h (Turns D)

15h

17h (Dance) 21,30h (Turns C)

18h

JUNGLE BOOK REIMAGINED

TENOR VIÑAS CONTEST

JUNGLE BOOK REIMAGINED

TENOR VIÑAS CONTEST

ALWAYS MOZART!

CALENDAR | 193

February 2023

Scene from Macbeth.

MACBETH

19h (Turns

17h (Turns T)

11h

MACBETH

19h (Turns E)

18h (Turns F)

TALK JAUME PLENSA

20h

16 MACBETH

19h (Turns D)

ALCINA (C. V.)

19h (Turns E)

PB)

EXHIBITION JAUME PLENSA

Until 11/3/23

MACBETH

19h (Turns P)

19h (Turns B)

19h (Turns H)

28 MACBETH

19h (Turns A)

194 | SEASON 2022—2023

LA PETITA FLAUTA MÀGICA

March 2023

Scene from 7 Deaths of Maria Callas.

MACBETH

19h (Turns C)

19h

(Turns PE)

TALK MARINA ABRAMOVIC

19h

19h (Turns A)

19h (Turns B)

19h (Turns C)

11h

7 DEATHS OF MARIA CALLAS

TRENCANOUSJAZZ

11h IT DANSA

12h / 18h

TALK GARCÍA-TOMÁS/ PAZOS/GAYRAUD

ALEXINA B.

19h (Turns PB) EXHIBITION QUERALT/ GARCÍA-TOMÁS/ SÁNCHEZ

20h

Until 2/4/23

19h

ALEXINA B.

(LiceUnder35)

ALEXINA B.

(Turns D)

ALEXINA B.

(Turns H)

WINTERREISE SEEN BY ANTONIO LÓPEZ · 20h

19h (Turns G)

20h

TALK ANTONIO LÓPEZ · 19h

EXHIBITION ANTONIO LÓPEZ

Until 30/4/23

SARA BLANCH AND XABIER ANDUAGA RECITAL WINTERREISE SEEN BY ANTONIO

WINTERREISE SEEN BY ANTONIO LÓPEZ

LÓPEZ· 20h

31 CALENDAR | 195

April 2023

Scene from Manon.

MAHLER’S UNIVERSE (I): 3RD SYMPHONY

17h (Turns T)

MIRALLS

11h

MONTEVERDI’S MADRIGALS (IV)

20h

MANON

19h (Turns B)

19h (Turns E)

18h (Turns F)

MANON

19h (Turns A)

19h (Turns D)

19h (Turns H)

196 | SEASON 2022—2023

18h (Turns

PD)

11h

MANON

19h (Turns C)

17h (Turns T)

LA NIT DE SANT JOAN

May 2023

Scene from Parsifal.

MANON

19h

11h

(Turns PC)

(Turns P)

LA BARCAROLA

11h

PARSIFAL

19h (Turns B)

18h (Turns C)

EXHIBITION MARRIA PRATTS

Until 2/6/23

PARSIFAL

19h (Turns A)

CALENDAR | 197

June 2023

René Jacobs.

EL MONSTRE AL LABERINT

19h

EL MONSTRE AL LABERINT

19h

7 PARSIFAL

19h (Turns D)

TALK WILLIAM CHRISTIE / BLANCA LI

19h (Turns H)

19h (Turns A)

19h (Turns B)

19h

DIDO & AENEAS

TALK JORDI SAVALL

DIDO & AENEAS

BRASS VIRTUOSI

DIDO & AENEAS

198 | SEASON 2022—2023

PARSIFAL

19h (Turns E)

17h (Turns T)

19h (Turns A)

19h (Turns G)

19h

17h (Turns T)

ORFEO ED EURIDICE (V. C.)

19h

PARSIFAL

ORFEO ED EURIDICE (V. C.)

DIDO & AENEAS

(LiceUnder35)

DIDO & AENEAS

(Dance)

DIDO & AENEAS

July

2023 Scene from Coppél-i-a.

L’INCORONAZIONE DI POPPEA

19h (Turns A)

L’INCORONAZIONE DI POPPEA

19h (Turns H)

19h

19h (Turns G)

19h (Turns B)

19h (Turns C)

19h (Turns B)

19h (Turns D)

19h (Turns E)

19h (Turns H)

19h (Turns P)

(OH!)PERA

L’INCORONAZIONE DI POPPEA

COPPÉL-I.A.

(OH!)PERA

RADVANOVSKY AND BECZAŁA RECITAL

MAHLER’S UNIVERSE (II): 6TH SYMPHONY

COPPÉL-I.A.

(OH!)PERA

11h / 17h

L’INCORONAZIONE DI POPPEA

RADVANOVSKY AND BECZAŁA RECITAL

17h (Turns T)

19h (Turns E)

17h (Dance) 21h (Turns C)

17h (Turns T)

L’INCORONAZIONE DI POPPEA

COPPÉL-I.A.

CALENDAR | 199

Directory OF ARTISTS

A Abramovic, Marina 30, 35, 87, 88, 89 Agresta, Maria 71 Ahyoung Kim, Antonia 87 Alagna, Roberto 71, 72, 73 Albelo, Celso 79 Alessandrini, Rinaldo 63, 101, 192 Álvarez, Carlos 79, 80 Amenós, Montse 51 Amo, Alicia 91 Anduaga, Xabier 19, 47, 97 Appl, Benjamin 37, 95 Arditti, Jake 123 Armengol, Pau 51, 69, 103 Assante, Pablo 22, 25, 47, 55, 66, 71, 79, 87, 99, 103, 107, 202 Attrait, Pierre 115 Ayón-Rivas, Iván 47, 67, 69

B Bączyk, Krzysztof 55 Baillieu, James 37, 95 Ballesteros, Inés 103 Barcellona, Daniela 65, 68 Bartoli, Cecilia 18, 59 Beczała, Piotr 19, 127 Benet, Tuixén 51 Bibiloni, Tomeu 69, 103 Bieito, Calixto 30, 123, 124 Blacher, Kolja 25, 136 Blanch, Sara 19, 47, 97 Blot, Jean-Vincent 103 Boada, Òscar 91, 99 Bolívar, Hugo 71 Bonilla, Leonor 87 Bonitatibus, Anna 83, 85 Bono, Tànit 103 Bou, Felipe 71, 107 Brambilla, Marco 87 Breidenbach, Beate 123 Breiwick, Deanna 123 Brok, Alex 66 Buratto, Gianluca 55 Burchuladze, Paata 107

C Calleja, Joseph 71, 72 Camarena, Javier 103, 105

200 | SEASON 2022—2023

Capuano, Gianluca 59 Carletti, Alessandro 47 Casals, Albert 51, 99, 103, 107, 203 Castellarnau, Carlos 120 Castells, Lluc 55 Cavalca, Agostino 47 Cervera, David 47 Chausson, Carlos 49 Christie, William 115, 116, 117, 139 Clark, Sharon 75 Colomer, Cristina 51 Coma-Alabert, Gemma 79 Contaldo, Valerio 83 Copons, Elena 91 Corbacho, María Luisa 68 Corbelli, Alessandro 47 Corianò, Antonio 71

D Dafoe, Willem 87 Davidsen, Lise 18, 25, 61, 65, 67, 138 de Beer, Lotte 30, 65, 66, 138 de la Cámara, María 51 Delagneau, Silvia 91 de Munck, Sonia 107 Demurova, Karina 107 DeShong, Elizabeth 83, 85 di Pierro, Nahuel 123 Dohr, Stefan 25, 137 Dolcini, Renato 115 Dudamel, Gustavo 18, 45, 93, 165 Dudnikova, Ksenia 55, 56 Duhamel, Alexandre 103

E Edris, Amina 103 Elderkin, Nabil 87 Esteve, Manel 71 Esteve, Mar 91, 151 Evin, Franck 123

F Fadó, Josep 107 Fajardo, Carolina 68 Fantin, Paolo 47 Fernández, Joaquín 107

Filonczyk, Andrzej 47 Fiume, Gilda 87 Flores, Alfons 55 Frizza, Riccardo 55 Fuchs, Julie 123, 124

G Gabetta, Andrés 59 Gagnidze, George 71, 72 Gallén, Andreu 119, 151 Gancedo, Mercedes 68 García-López, Pablo 67 García-Tomás, Raquel 25, 30, 31, 39, 91, 92, 93, 139, 141 Gaudí, Isabella 107 Gayraud, Irène 39, 91, 93, 139 Gerzmava, Hibla 55, 56 Glaenzel, Max 91 Glück, Louise 31, 38 Goerne, Matthias 107, 108 Goikoetxea, Vanessa 87 González Toro, Emiliano 123 Grigolo, Vittorio 55 Guth, Claus 30, 107, 108

H Hammer, Bernhard 66 Hansen, David 123, 124 Hernández, Saioa 55, 56 Hoffman, Jürgen 107

I Ico, Dianne 51 Infante, Marta 51, 68 Iniesta, Ruth 65, 67, 69 Izzo, Daniel 103

J Jacobs, René 111, 112, 198 Jaho, Ermonela 65, 68, 138 Jordan, Tariq 75 Jovanovich, Brandon 67 Junqueira, Flávia 31, 41, 140

K Karkacheva, Victoria 99 Kasper, Kateryna 111, 113 Khan, Akram 75, 157 Khoo, Mavin 75 Killy, Bertrand 103

Kolors, Dona 51 Kožená, Magdalena 83, 85, 123, 125 Krügler, Ingo 123 Kurzak, Aleksandra 71, 72 Kutasi, Judit 55

L Lagares, David 79 Lanchas, Valeriano 67 Lara, Fabián 79 Lee, Yonghoon 55 Leita, Ana Vieira 115 Lemalu, Jonathan 71 Li, Blanca 115, 116, 139, 181 Lindsey, Kate 115 Lliteres, Antoni 55 Lluch, Bárbara 95 López, Antonio 19, 31, 37, 95, 139, 141 López Navarro, Luis 69 Lozano, Antonio 67, 69

M Maestri, Ambrogio 65, 67, 69 Maillot, Jean-Christophe 131 Mälkki, Susanna 66, 138 Marín, Moisés 71, 107 Márquez, Marian 119 Martínez, Rocío 51 Masllorens, Anaïs 103 Meier, Waltraud 18, 25, 61 Meira, Nuno 91 Méndez, Antonio 87 Méndez, Luis Miguel 77 Mercier, Laurent 115 Michieletto, Damiano 30, 47, 49 Minkowski, Marc 83, 84, 85, 103, 105 Morán, Mar 68 Moreni, Aimée 131 Morley, Erin 83

N Nánási, Henrik 71 Naouri, Laurent 103 Nikitin, Evgeny 71, 72, 107, 108 Nikodijevic, Marko 87 Nogales, Marifé 107

O Òdena, Àngel 55 Olive, Caty 115 Olivé, Josep Ramon 123 Ollé, Àlex 8, 55, 56, 119 Oller, David 69 Orfila, Simón 79 Ott, Jarrett 103

P Pachón, Carles 47 Palatchi, Stefano 69 Pankratova, Elena 107, 108 Pape, René 107, 108 Paré, Gabriel 51 Pasztircsák, Polina 111, 113 Pati, Pene 103 Pazos, Marta 93 Perišic, Milan 71 Perles, Berna 55, 68, 69 Pinar, Adrià 51 Pintó, Mireia 67, 68, 69, 149 Pio Galasso, Francesco 79 Pirozzi, Anna 79, 81 Plensa, Jaume 5, 6, 7, 8, 9, 18, 22, 25, 30, 31, 33, 79, 80, 81, 138, 140, 208 Pons, Josep 16, 22, 45, 47, 49, 61, 79, 81, 91, 99, 107, 108, 129, 202 Pook, Jocelyn 75 Presland, Clare 107 Py, Olivier 30, 103, 104

Savall, Jordi 123, 125, 139 Schmidt, Christian 107 Schönebaum, Urs 55, 79, 87 Schrott, Erwin 79 Schukoff, Nikolai 107, 108 Shaham, Rinat 87 Sierra, Nadine 103, 105 Sinisi, Emmanuele 71 Skavlan, Petter 87 Soler Mallol, Ricard 51, 186 Stampfli, Benedikt 87 Staquet, Geoffroy 131 Szpunberg, Victoria 51, 52, 53, 186

T Terfel, Bryn 45 Theorin, Iréne 18, 25, 45, 61 Tisci, Riccardo 87 Tobella, Anna 103 Toledo, Cristina 107 Tordera, Arnau 51, 52, 53 Torre, Benedetta 87 Tysman, Sarah, 127

V Valiquette, Florie 123 van Beek, Jrorine 66 Vila Jover, Josep 149 Vila, Laura 68 Villalobos, Rafael R. 30, 71, 72 Viloria, Itziar 119 Vinyes-Curtis, Lídia 91

Radicke, Camillo 127 Radvanovsky, Sondra 19, 71, 72, 79, 80, 127 Ramos, Felipe 71 Rasker, Helena 111 Reverté, Alfons 53 Ringst, Rebecca 123, 124 Rodríguez, Juan Jesús 55, 56 Rosen, Alex 83 Ruz, Antonio 79, 159

Weitz, Pierre André 103

Y Ydáñez, Santiago 71, 72

Z Zanettin, Monica 71 Zappa, Giulio 97

S Sabata, Xavier 91, 123, 125 Sáenz, Serena 47 Salsi, Luca 71, 72, 79, 80 DIRECTORY OF ARTISTS | 201

Staff list of the Gran Teatre del Liceu Oriol Algueró Nieves Aliaño César Altur Andrea Amador Joaquín Arrabal José Bracero Sandra Luisa Batista Joan Andreu Bella Lluís Bellver Francesc Benítez ARTISTIC DIRECTION Jordi Berbegal AND PRODUCTION Josep M. Bernabeu Víctor Garcia de Gomar Claire Bobij Leticia Martín Ruiz Kostadin Bogdanoski Planning Bettina Brandkamp Yolanda Blaya Esther Braun Merce Brotons Contract administration Pablo Cadenas and extras Javier Cantos Albert Castells Josep Antón Casado Meritxell Penas Andrea Ceruti Executive production J. Carles Chordà Sílvia Garcia Carles Chordà Míriam Martín Ferrer Francesc Colomina Joan Rimbau Albert Coronado Special event production Charles Courant Savio de la Corte Muntsa Inglada Birgit Euler Deborah Tarridas Juan Pedro Fuentes Surtitles Alejandro Garrido Anabel Alenda Juan González Moreno Gloria Nogué Gabriel Graells Ródica Mónica Harda MUSICAL DIRECTION Piotr Jeczmyk Josep Pons Lourdes Kleykens Conxita Garcia Magdalena Kostrzewszka Antoni Pallès Aleksandar Krapovski Josep M. Armengol Émilie Langlais Agnès Pérez Paula Lavarías Núria Piquer Francesc Lozano Jing Liu Music archives Kalina Macuta Josep Carreras Sergii Maiboroda Elena Rosales Darío Mariño Répétiteurs Jorge Martínez Rodrigo de Vera Manuel Martínez Vanessa García Juanjo Mercadal David-Huy Nguyen-Phung Aleksandra Miletic Jaume Tribó Albert Mora Véronique Werklé David Morales Regidoria musical Liviu Morna Lluís Alsius Mihai Morna Luca Ceruti Salomé Osca Micky Galindo Emili Pascual Ma Dolors Paya Orchestra Enric Pellicer Kai Gleusteen Raúl Pérez Oscar Alabau Cristoforo Pestalozzi Olga Aleshinski GENERAL MANAGER

Valentí Oviedo Executive Secretary Ariadna Pedrola Chief legal officers Elionor Villén Gemma Porta Lola Pozo Flor

202 | SEASON 2022—2023

Ionut Podgoreanu Alexandre Polonski Sergi Puente Annick Puig Ewa Pyrek Joan Renart Ma José Rielo Artur Sala Guillermo Salcedo Fulgencio Sandoval Cristian Sandu Javier Serrano Oleg Shport João Paulo Soares Oksana Solovieva Juan M. Stacey Barbara Stegemann Raul Suárez Renata Tanellari Guillaume Terrail Franck Tollini Yana Tsanova Marie Vanier Bernardo Verde Jorge Vilalta Matthias Weinmann Chorus Pablo Assante Alejandra M. Aguilar Pau Bordas Margarita Buendía José L. Casanova Alexandra Codina Xavier Comorera Carlos Cremades Miguel Ángel Curras Dimitar Darlev Gabriel Antonio Diap Mariel Fontes María Genís Elisabeth Gillming Ignasi Gomar Oihane González de Vinaspre Olatz Gorrotxategi Lucas Groppo Gema Hernández Andrés Omar Jara M. Carmen Jiménez Sung Min Kang Yordanka Leon Graham Lister Glòria López Raquel Lucena Mónica Luezas Elisabet Maldonado Aina Martín

Xavier Martínez Ivo Mischev José Antonio Medina Raquel Momblant Daniel Muñoz M. Àngels Padró Eun Kyung Park Natalia Perelló Marta Polo Joan Prados Joan Josep Ramos Alexandra Ros Miquel Rosales Olga Szabo Llorenç Valero Ingrid Venter Elisabet Vilaplana Helena Zaborowska Guisela Zannerini Educational service and Social project Jordina Oriols Irene Calvís Julia Getino Carles Gibert Gemma Pujol Josep Maria Sabench Pilar Villanueva COMMUNICATION AND PUBLICATIONS DEPT.

Nora Farrés Press Joana Lladó

Digital Christian Machío Plubications Sònia Cañas Archives Helena Escobar Enric Escofet Audiovisual production Clara Bernardo Berta Regot Santi Gila Design Lluís Palomar ECONOMY AND FINANCE DEPT.

Ana Serrano Cristina Esteve Núria Ribes

Financial control M. Jesús Fèlix Gemma Rodríguez Accounting Jesús Arias M. José García Treasury and insurance Jordi Cabrero Roser Pausas Purchasing M. Isabel Aguilar Javier Amorós Eva Grijalba Anna Zurdo MARKETING AND COMMERCIAL DEPT.

Mireia Martínez Montse Cardona Jesús García Teresa Lleal Judith Ruiz Subscriptions and tickets M. Carme Aguilar Clara Cebrián Aroa Lebron Ariadna Porta Sonia Puig-Gròs Marta Ribas Gemma Sánchez Berta Simó PATRONAGE, SPONSORSHIP AND SPECIAL EVENTS DEPT

Helena Roca Paula Gómez Laia Ibarz Sandra Oliva Mireia Ventura Special events Isabel Ramón Marcos Romero Paulina Soucheiron

HUMAN RESOURCES AND GENERAL SERVICES DEPT.

Jordi Tarragó Personnel office Jordi Aymar Mercè Siles Training and occupational safety and healthl Rosa Barreda

Reception Cristina Ferraz Christian López Medical services Mireia Gay Security Ferran Torres Computer services Raquel Boza Pilar Foixench Raúl López Sara Martín Xavier Massotti Installation and maintenance Susana Expósito Helena Ferré Domingo García Isaac Martín INSTITUTIONAL RELATIONS DEPT.

Estefania Sort Public Relations Pol Avinyó Yolanda Bonilla Laura Prat Main Auditorium Marian Casals Xavier Pérez TECHNICAL DEPARTMENT

Xavier Sagrera Technical office Marc Comas Guillermo Fabra 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 Blai Munuera Lluís Suárez Machinery Albert Anguera

Ricard Anguera Joan A. Antich Natalia Barot Albert Brignardelli Raúl Cabello Ricard Delgado Sebastià Escutia Emili Fontanals Àngel Hidalgo Ramon Llinas Eduard López Francesc X. López Begoña Marcos Aduino J. Martínez Manuel Martínez Roger Martínez Eduard Melich Bautista V. Molina Albert Peña Esteban Quífer Esther Obrador Carlos Rojo Salvador Pozo Jordi Segarra Marc Tomàs Lighting technology Susana Abella Ferran Capella Sergi Escoda Oriol Franquesa Jordi Gallues J. Pere Gil Anna Junquera Toni Larios Joaquim Macià Francesc Macip Antoni Magrina Vicente Miguel Enric Miquel Alfonso Ochoa Carles A. Pascua Robert Pinies José C. Pita Ferran Pratdesaba Josué Sampere Audiovisual technology Jordi Amate Antoni Arrufat Guillem Guimerà Amadeo Pabó Carles Rabassa 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 Cristina Regueras Jaume Roig Josep Roses Mariano Sánchez Stage management Llorenç Ametller Immaculada Faura Xesca Llabrés Jordi Soler Costumes Rui Alves Alejandro Curcó Rafael Espada David Farré Cristina Fortuny Carme González Esther Linuesa Jaime Martínez Dolors Rodríguez Gloria Royo Javier Sanz Montserrat Vergara Ana Sabina Vergara Alba Viader Patrícia Viguer Eva Vílchez Character design Susana Ben Hassan Monica Núñez Liliana Pereña Miriam Pintado Núria Valero

STAFF LIST OF THE GRAN TEATRE DEL LICEU | 203

Seating PLAN

Season 2022—2023

ZONE A Central dress circle boxes ZONE 1 Orchestra stalls, Dress circle ZONE 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 proscenium boxes, 5th tier sides

How to get there Theatre and tour entrance AU

P NT SA C.

Tour tickets

LA RAMBLA

Theatre entrance

METRO Line 3 (Liceu) Operates: Monday to Thursday, Sunday and holidays until midnight. Friday night until 2 am. Saturday all-night service BUSES Lines V13 and 59 PHONE FOR SPECIAL ATTENTION 902 787 397

CAR PARKS – Plaça de Catalunya – La Rambla, 88-94 (Rambla de Sant Josep) – La Rambla (opposite pl. J. Xirau) – Av. Catedral – C. Hospital “BICING” BICYCLE RENTAL Stations: – 55 and 57 · La Rambla – 379 · Pl. Sant Miquel – 415 · La Rambla del Raval, 13

NIÓ C. U

GRAN TEATRE DEL LICEU

La Rambla, 51-59 08002 Barcelona Telèfon: 93 485 99 00 info@liceubarcelona.cat liceubarcelona.cat BOX OFFICE

Telephone: 902 787 397* / 934 859 913 (Monday to Friday from 10 am to 6 pm) *special price 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

ANTIC CENTRE PENITENCIARI LA MODEL

C/ d’Entença, 155 08029 Barcelona

CAIXAFORUM BARCELONA

Av. Francesc Ferrer i Guàrdia, 6-8 08038 Barcelona

Published by: Departament de Comunicació and Edicions del Liceu Design and layout: Byron Books, S.L. (Huygens Editorial) Proofs: Carla Riboldi, Júlia Fas Contents: Víctor Garcia de Gomar (director artístic del Gran Teatre del Liceu) and Albert Galceran Correction and traslation: Jacqueline Hall Drawings on cover and inside pages: © Jaume Plensa, VEGAP, Barcelona, 2022 Series of drawings: Estudis en negre (2003), September (2006), In the Darkness (2008) Printed by: Agpograf © of this edition: Fundació Gran Teatre del Liceu © of the texts and photographs: the respective authors: els seus autors Photo credits: Dario Acosta, 69; Paco Amate, 147; Bayerische Staatsoper. Foto Wilfried Hösl, 66, 67, 68, 69, 88, 89; Amati Bacciardi, 68; Lourdes Balduque, 57; 2019 ROH. Clive Barda, 48; Carole Bellaiche, 105; Fadil Berisha, 68; Antoni Bofill, 108, 109, 146, 149, 153, 159, 161, 163; Marco Borrelli, 81; Biel Capllonch (amb la col·laboració d’Albert Claret), 92; Benjamin Chelly, 84, 85; Elena Cherkashyna, 49; Michael Cooper, 81; Igor Cortadellas, 49; Merri Cyr, 105; Alexey Duplyakov, 56; © Dutch National Opera / Ruth Walz, 56; Karl Forster, 72,73; Simon Fowler, 73; Jordi Galderic, 53; Rosetta Greek, 116; Karol Grygoruk, 73; Kristin Hoebermann, 85; James Hole, 67; Ali Mahdavi, 116; Jonathan Manchón, 69; Philippe Matsas, 112; Oscar Meyer, 89; Michal Novak, 89; Oscar-Ortega, 116; GTG Carole Parodi , 104; Philippedelval, 116; Lluc Queralt, 93; Elisa Rinaldi, 73; Monika Rittershaus, 124, 125; David Ruano, 151, 155; Victor Santiago, 81; Marie Staggat, 109; Monarca_Studios, 85; Frank Thibault, 157; Sadurní Vergés, 93; Julia Wesely, 85, 125; Aviya Wyse, 66; Vitaly Zapryagaev, 109

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