Macbeth by Giuseppe Verdi At the Gran Teatre del LiceuMusical Director / Giampaolo Maria Bisanti Stage Director / Christof Loy Sets / Jonas Dahlberg Costumes / Ursula Renzenbrink Lighting / Brend Purkrabek A coproduction / Gran Teatre del Liceu, Grand Théâtre de Genève Chorus Master / Conxita Garcia Cast: Macbeth: Ludovic Tézier Banquo: Vitalij Kowaljow Lady Macbeth: Martina Serafin Lady-in-waiting: Anna Puche Macduff: Saimir Pirgu Malcolm: Albert Casals Doctor: David Sánchez Servant, herald and assassin: Marc Canturri
La Bohème by Giacomo PucciniMUSICAL DIRECTOR / Marc Piollet STAGE DIRECTOR AND CHOREOGRAPHY / Jonathan Miller SET DESIGN & COSTUMES / Isabella Bywater LIGHTING / Jean Kalman PRODUCTION / English National Opera, Cincinnati Opera Symphony Orchestra and Chorus of the Gran Teatre del Liceu CHORUS DIRECTOR / Conxita Garcia Cor Vivaldi-Petits Cantors de Catalunya CHILDREN'S CHORUS DIRECTOR / Peter Burian Cast Mimí Eleonora Buratto Musetta Olga Kulchynska Rodolfo Saimir Pirgu Marcello Gabriel Bermúdez Schaunard Isaac Galan Colline Fernando Radó Benoît / Alcindoro Fernando Latorre La Bohème, the four-act opera by Giacomo Puccini from a libretto by Giuseppe Giacosa and Luigi Illica, is one of the most performed lyrical works in the world. It tells the story of the impossible love between Rodolfo and Mimi in the world of the literary “bohemia” of XIXth century Paris. We follow the romance between our two heroes through a wonderful series of tableaux that portray the contagious joie de vivre of youth and the tragic waste caused by sickness and separation. This new, and highly theatrical production, transposes the action to the 1930s (100 years later than the original) with realistic, but traditional, sets created by Isabella Bywater for the staging by Jonathan Miller. The principal roles are sung by one of the most promising tenors, Saimir Pirgu, and the exciting soprano, Eleonora Buratto.
Lucia Di Lammermoor by Gaetano Donizetti at the Gran Teatre del Liceu, BarcelonaLucia di Lammermoor is undoubtedly the best-known work of Gaetano Donizetti, even though his output was prolific. It has also been the most frequently performed and staged since its creation in 1835 at the San Carlo theater in Naples. It is one of the beacons of Italian Bel Canto and also one of the most typically romantic of Italian Operas. In 16th century Scotland, torn apart by the wars of religion and succession between Mary Stuart’s Catholics and James VI’s Reformist Protestants, two families, the Ravenswoods and the Ashtons are feuding. In the middle is an impossible love between Lucia, Ashton daughter, and Edgardo, Ravenswood son and sworn enemy of Enrico, Lucia’s brother. It is performed at the Barcelona Gran Teatre del Liceu in an original staging by Damiano Michieletto. Musical Director Marco Armiliato Stage Director Damiano Michieletto
Sets Paolo Fantin
Costumes Carla Teti Lighting Martin Gebhardt
Orfeó Català Children’s Choir
Madrigal Choir Cast: Lucia - Elena Mosuc Edgardo - Juan Diego Flores Enrico - Marco Caria Raimondo - Simon Orfila Arturo - Albert Casals Alysa - Sandra Ferrandez Normano - Jorge Rodriguez-Norton
Norma de Vincenzo Bellini - Gran Teatre del LiceuIf we weep from emotion on hearing it, it’s nothing to be ashamed of. That is what Richard Wagner said about Vincenzo Bellini’s most famous opera, which he considered the most perfect example of a musical tragedy. And rightly so, because in Norma Italian Romanticism reached its pinnacle. This production, by up-and-coming American stage director Kevin Newbury, stresses the ritual aspects of the drama. In Roman-dominated Gaul, the high priestess Norma has broken her vow of chastity by entering a relationship with the Roman pro-consul Pollione and the birth of their two children has been kept secret. But when she discovers she has a rival, jealousy sets in. Norma is a classical heroine, passionate and revengeful, and her dilemma provides the starting point for the most successful work by the last and greatest composer of bel canto. Though the first performance was a failure, Norma went on to become an established favourite. It first came to the Liceu in 1847, not long after its official opening, and was, in fact, the third opera to be staged there.
Lyric tragedy in two acts. Libretto by Felice Romani based on the play by Alexandre Soumet. Music by Vincenzo Bellini. Premiered on 26 September 1831 at the Teatro alla Scala in Milan. First performed at the Gran Teatre del Liceu on 16 October 1847. Last staged at the Liceu on 30 July 2007.
Conductor / Renato Palumbo
Stage Direction / Kevin Newbury
Scenography / David Korins
Costumes / Jessica Jahn
Lighting / D. M. Wood
Co-Production / Gran Teatre del Liceu, San Francisco Opera,
Chicago Lyric Opera and Canadian Opera Company
Symphony Orchestra and Chorus of the Gran Teatre del Liceu Cast:
Pollione: Gregory Kunde Oroveso: Raymond Aceto Norma: Sondra Radvanovsky
Adalgisa: Ekaterina Gubanova
Clotilde: Anna Puche Flavio: Francisco Vas
Das RheingoldDas Rheingold (Munich, 1869) is the prologue to the Ring of the Nibelung. In a world where harmony still holds sway, the Rhine maidens (water nymphs) watch over their treasure in the depths of the Rhine. However, it is then stolen by Alberich, the Nibelung, an evil, lecherous dwarf who knows its secret: whoever steals the gold and makes it into a ring will become ruler of the world, on condition that he renounces love. Wotan, king of the gods, advised by the cunning demigod, Loge, takes the gold and the ring from Alberich to pay for the palace of Walhalla, which the giants Fasolt and Fafner have built for him. However, Alberich lays a terrible curse: the ring will bring misfortune and death to whoever possesses it. The curse takes immediate effect with the result that one of the giants kills the other to obtain the ring. The striking aspect of this production is the unique and offbeat staging by Robert Carsen, who plunges us into a world of darkness. Patrick Kinmonth has designed a minimalist set of blocks of concrete and cranes. In their hands, Das Rheingold, takes on an austere, glittering character that allows Wagner’s work to appear in all its brilliance. Casting: Wotan - Albert Dohmen Donner - Ralf Lukas Froh - Marcel Reijans Loge - Kurt Streit Fasolt - Ain Anger Fafner - Ante Jerkunica Alberich - Andrew Shore Mime - Mikhail Vekua Fricka - Mihoko Fujimura Freia - Erika Wueschner Erda - Ewa Podles Woglinde - Lisette Bolle Wellgunde - Maria Hinojosa Flosshilde - Nadine Weissmann
The Tales of Hoffman‘The Tales of Hoffman’ (Paris, 1881) is evidence of Hoffman’s determination to surpass his success with operettas and enter the world of grand opera. This is a highly inspired work where fantasy and emotion form a subtle, supernatural blend with satire and the grotesque. Hoffman, the narrator and protagonist, relates three tales to his drinking companions. Each tale illustrates a facet of his stormy affair with the singer Stella. The tales tell the stories of Olympia, a mechanical doll, Antonia, a singer, who sings herself to death, and Giulietta, a courtesan who steals people’s reflections. Casting : Stella - Susana Cordón Olympia - Kathleen Kim Antonia - Natalie Dessay Giulietta - Tatiana Pavlovskaya La musa / Nicklausse - Michèle Losier La veu de la tomba - Salomé Haller Hoffmann - Michael Spyres Lindorf / Coppelius / Doctor Miracle / Capita Dapertutto - Laurent Naouri Spalanzani - Manel Esteve Crespel - Carlos Chausson Peter Schlemil - Isaac Galan Andres / Cochenille / Frantz / Pitichinaccio - Francisco Vas Maître Luther - Alex Sanmarti Nathanaël - Airam Hernández Hermann - Isaac Galán