Turandot was the opera that would have been going on stage when the theatre was destroyed in a fire in January 1994. Embodying a spirit of continuity, Turandot was chosen to inaugurate the new theatre rebuilt in 1999. Now, on the 20th anniversary of Liceu’s re-inauguration, Puccini’s last opera was again the title selected to open the new season. Turandot, an opera which historically did not have any particularly significant relationship with the theatre has become, due to the...

Excessive in every material and conceptual aspect, hypertrophic, beyond the limits of anything reasonable, redundant in the text to desperation, with a minimal dramatic action that tests the ingenuity and patience of stage directors, with terrible vocal demands, inhumane for the protagonists. Exhausting for everyone, audience included, the Wagnerian Tristan und Isolde is in its overflow one of the most sublime and genius excesses created by Western culture. Once again we have been put...

Claus Guth created this production of Strauss/Hofmannsthal’s The Woman without Shadow (Die Frau ohne Schatten) 2013 for La Scala. After later shown at Covent Garden, London it is now being staged at the Berlin State Opera as part of the Easter Festival 2017, scenic rehearsal by Julia Burbach. Contrary to other concepts with directors elevating the over-mystified, ferry-tale like plot into full abstraction (Loy for Salzburg or Ponnelle for Cologne many years ago), Guth and...

Amongst the performers that took part at the Götterdämmerung premiere at the Liceu the great highlight was the immense, anthological and unforgettable Brünnhilde by Iréne Theorin. Voice, power, dramatic engagement and understanding of the character put the Swedish soprano in a place to be considered one of the best Brünnhilde in the world, if not the best. Her final scene will remain in the memory of all for many years to come. The other...

What a story, what a character Richard Strauss and his co-genius Hugo von Hoffmannsthal have created here at the beginning of the 20th century. The expressive music and the female wild brutality were shocking and affecting the audience at the same time. Elektra, full of grieve, is seeking for revenge for her beloved father's death, accusing her mother and stepfather, exposing herself in front of the palace as a living monument of self destruction, desire up to mentally defection and...

Harry Kupfer´s production of 2000 is very restricted and back to the essantials of good singing and acting of all participants. The stage throughout all acts is dominated by a big amor fallen on stage, his wings widespread symbolising the fallen love, ready to be freed again. Daniel Barenboim conducts his Staatskapelle Berlin  monstrous voluminous sometimes missing the romantic passages and signs of salvation and liberation. Strong forte pushes the singers to give their...