Demon, the opera by Anton Rubinstein with libretto by Pavel Alexandrovich Viskovatov based on the homonymous poem by Mikhail Lermontov, was premiered in 1875 and was performed often in Russia towards the end of the 19th century, but today is an opera outside the repertoire, almost a rarity. The fact that Liceu decided to participate in a co-production of the title alongside the Helikon Opera from Moscow, the Staatstheater from Nürnberg and the Opéra National de Bordeaux,...

Opera is the most complex and interdisciplinary form of artistic expression created by Western culture, all scenic and musical arts are represented. In this state of affairs, in the same way that it is very difficult to totally ruin an operatic performance it is even a greater challenge to achieve absolute perfection. Nevertheless, this is – or almost is – what happened in the premiere of Andrea Chénier at Liceu, one of the foundational titles of the verismo movement...

At times, opera can also be the art of nostalgia and of longing, referring not just to the voices. Liceu has once again restaged in its scene its own production of L’elisir d’amore, one of the most successful productions of the theatre, which has toured around bringing dignity to Liceu’s name.  The staging is signed by Mario Gas as stage director, who started his relationship with this title over 30 years ago. That production was the grandmother of the one...

Liceu has resumed its activity with Il viaggio a Reims, an unusual title for a season opening. We need to consider however that these performances, despite being the first ones, do not have the ‘official’ opening character that will arrive at the beginning of October with Un ballo in maschera.  But why is Il viaggio a Reims not an appropriate title to open the season? Because, to start with, dramatically it isn’t a proper opera but rather a sort of scenic cantata...

Yet another title from Verdi’s “popular trilogy” at Liceu. We had Rigoletto in March and now, to close the season, Il Trovatore. Betting repeatedlyfor the most popular operas can be dangerous: whilst it is true that they bring with them a full house, they also generate disproportionate expectations in an audience that know them (of thinks to know them) by heart and who wish – often in vain – to listen on stage to the results that tend to belongmore to the...

It has often been said, in a variety of ways and with a range of argumentations, that Don Giovanni belongs to the limited group of ‘impossible operas’ or ‘trap operas’ in the sense that they are so big, perfect and powerful, and their deep subject – rather than their superficial plot – is so transcendental that, on one hand they are almost always bigger than their performers, and on the other hand they also generate such perfection expectations in the...