Christina Scheppelmann, artistic director at Liceu, commented on the text in the programme of Les pêcheurs de perles, that the opera’s plot is ‘naive and old fashioned’, and considered that ‘it is hard for this story to be emotionally touching’. Later, in regards to the work of stage director Lotte de Beer, who situates her version of this opera in a reality show, Scheppelmann wrote that Beer’s work manages to ‘make the story work from...

The debut of Iréne Theorin, one of the greatest Wagnerian sopranos of our time, on the title role was the main feature of the restaging of La Gioconda at Liceu. The opera by Amilcare Ponchielli – the only one by him remaining in the repertoire – moves very awkwardly, as it doesn’t fit anywhere, in the space in between post Verdi and Verism. This wasn’t possible. A few hours before the opening, the theatre announced that Iréne Theorin, still...

With some notable exceptions, the most eminent of which is Beethoven’s Fidelio, the theme of maintaining marital loyalty, whilst morally so commendable, is theatrically utterly boring. Its opposite, instead, always affords interesting theatrical shambles which can range from the vaudeville to tragedy and everything in between. If Händel’s Rodelinda, a story about staunch marital loyalty, theatrically is not only tolerable but works rather well is because deep down it...

Finally, after many years, Liceu has hosted the world premiere of an opera, L’enigma di Lea by Benet Casablancas with text by Rafael Argullol. Casablancas, born in 1956, is one of the main current Catalan composers. Although his catalogue is long and varied this is his first opera. Rafael Argullol, born in 1949, is a poet, novelist, philosopher, essay writer and university professor in aesthetics and art theory. The piece, described by the librettist as a ‘mythical...

Tradition states that Puccini is the operatic composer who better expressed the complexities of the feminine soul. Feminism might have something to say about this and might not agree much. What is true, however, is that the Puccinian female characters have a musical depth and theatrical density far greater than the masculine ones, who often tend to be more schematic and stereotypical. The dramatic weight difference between the feminine and the masculine characters, which starts...

Liceu has chosen L’italiana in Algeri by Rossini to close the year, an opera premiered in 1813 in Venice, which therefore precedes Il barbiere di Siviglia, La Cenerentola and Il Turco in Italia. This is and opera that reached Barcelona quickly, in 1815, but of which in two centuries only 13 performances have taken place. The last ones were in 1982 in a memorable production directed by the late Jean-Pierre Ponnelle. This work, with a libretto by Angelo Anelli, consists essentially...