The chorus sings its last phrase, the mysterious and enigmatic "Erlösung dem Erlöser" (Redemption to the redeemer) while greeting a Parsifal dressed more or less like a fascist dictator. Kundry, the Jewess, does not expire placidly after being baptized but, alarmed by what she sees and, above all, by what she foresees, she packs her bags and goes into exile, the curtain falls. The question is obvious: And now who will redeem us from Parsifal? Thus ends the Parsifal...

Nadine Sierra was the big winner on the opening night of Manon. Her voice is at its best, splendid. The high notes are easy, well timbred, and brilliant. The dynamic control is of great quality and the projection of the singing, without being magnificent, is fully satisfactory. The exhaustive technical control of breathing and emission allows her to sing naturally and with and ease, without apparent physical effort and without dropping in performance over the course of a show lasting...

Herculine Barbin, also known as Alexina B., was born in France in 1838. At birth it was decided that she was a female and she was raised as a girl. When reaching puberty, she realized that her body was not developing like those of the rest of the girls. She never menstruated but suffered from severe pain. Alexina B. found a job as a teacher in a girls’ boarding school where she fell in love with Sara, the daughter of the director of the centre. After their first love encounter...

If Shakespeare's Macbeth is already bloodthirsty, dark, barbaric, ferocious, atavistic and telluric, Verdi's operatic reworking of this work not only keeps intact the strength of the original but, by concentrating and essentialising it, he even increases it. Verdi's Macbeth is the ultimate party of wickedness and an orgy of moral perversion. Stylistically, it is a rare opera that does not fit anywhere – chronologically it should be inscribed in late bel canto, but...

Tosca, one of the titles in the repertoire that performs best at the box office, has returned to Liceu to reach the figure of two hundred performances in the history ofthe Barcelona theatre. It has done so in a co-production between Liceu and other Spanish and European theatres under the direction of the young Sevillian director Rafael R. Villalobos, aspiring enfant terrible of today's operatic stage direction. Villalobos's Tosca is one of those that needs an instruction manual...

35 years after having last appeared at Liceu, Puccini's Trittico has returned to its stage. It has done so in a 2017 Munich Opera production directed by Lotte de Beer. Achieving a visual and dramatic union in a single production of three titles as different as those that make up Il Trittico is not at all easy, the Dutch stage director half succeeds at it. De Beer takes death as a thread: in the first opera, a passionate thriller, there is a murder; in the second, a melodrama, we...