Barcelona - Aida - Anna Netrebko - Opening Night Gala - Friday , 25th Sep 2026

Aida – Anna Netrebko – Opening Night – September 25, 2026

From the moment the new season of the Gran Teatre del Liceu was announced, something shifted within me. It was immediate, almost instinctive. My imagination ignited, my thoughts began to race ahead in time, and without even realizing it, I was already living in the future—already standing on that night. September 25, 2026. A Friday. 

And what a Friday it will be.

I have always loved Fridays. There is something inherently full of promise in them—the quiet anticipation of something about to begin, the sense that the ordinary is giving way to something more luminous. But this particular Friday transcends all others. It is not just the end of a week. It is the beginning of a memory.

Because on that night, everything aligns.

The opening of the Liceu season.

My favorite opera by Giuseppe Verdi.

My favorite tenor and mezzo-soprano roles.

And above all—the Aida I have dreamed of.

Anna Netrebko.

To write her name is already to feel the weight of expectation. But this is something beyond admiration. It is a kind of artistic inevitability. There are singers one admires, others one follows, and then there are those rare artists who define an era—who become, almost without effort, the reference point against which everything else is measured.

Netrebko belongs to that last category.

And in Aida, she becomes something even greater.

Giuseppe Verdi 

There are roles that are beautiful, and there are roles that are essential. Aida is essential. It demands not only vocal mastery but emotional truth, inner conflict, and a profound connection to Verdi’s world—a world of love, sacrifice, identity, and destiny. It is not enough to sing Aida. One must become her.

And that is precisely what I imagine will happen that night.

As the orchestra of the Liceu begins the prelude—soft, almost suspended in time—the theatre will hold its breath. And then, slowly, inevitably, she will appear.

Not just as a soprano.

But as Aida.

Her voice—dark velvet illuminated from within—will carry both fragility and grandeur. It will not impose itself; it will unfold. Phrase by phrase, emotion by emotion, she will draw us into a world where everything feels heightened, intensified, almost sacred.

And yet, she will not be alone.

At her side, Yusif Eyvazov

The definitive Radamès for our time, possessing a voice of striking metallic brilliance and unwavering resilience. His portrayal is marked by a rare combination of heroic power and Italianate 'squillo' that cuts through Verdi’s massive orchestrations with ease.Yet, it is his onstage alchemy with Anna Netrebko that elevates the performance to a legendary status. Their partnership transcends mere technical precision; it is a profound artistic symbiosis built over years of shared stagecraft. There is an instinctive trust in their phrasing and a visceral intensity in their gaze that cannot be rehearsed. When they share the stage, the boundaries between theatre and reality blur, creating a magnetic tension that only a duo with such a deep, long-standing creative bond could achieve.

There is a reason their pairing feels so inevitable.

His voice—metallic, direct, cutting through the orchestra with precision—forms the perfect counterbalance to her darker, more velvety timbre. Where she envelops, he penetrates. Where she shades, he projects. Together, they create a sonic architecture that fills the theatre completely.

But beyond technique, there is something deeper.

Trust.

Requiem - La Scala on 25 May 1874, with Verdi conducting. The soloists depicted are (left to right) Ormondo Maini , Giuseppe Capponi, Maria Waldmann, and Teresa Stolz . 

Verdi’s Requiem: A Historic Resonance at the Liceu""In a direct echo of Verdi’s legendary 1874 La Scala performance, the Gran Teatre del Liceu presents a new 'quartet of titans.' Under the masterful baton of Nicola Luisotti, the world-class voices of Lise Davidsen, Aigul Akhmetshina, Freddie De Tommaso, and Christian Van Horn unite for a seismic musical event. This rare convergence of talent ensures a performance of Verdi’s masterpiece that will be remembered for generations.

In the great duets of Aida, where emotion reaches its peak and the vocal writing becomes almost perilous, Eyvazov provides something invaluable: certainty. His secure upper register, his unwavering projection—these become the foundation upon which Netrebko can build her most nuanced, most daring interpretations.

He is, in many ways, the anchor that allows her to fly.

Completing this extraordinary triangle is Ekaterina Semenchuk as Amneris. 

If Netrebko is the soul and Eyvazov the force, Semenchuk is the fire. Her Amneris is not merely a rival—it is a storm.Having witnessed her monumental triumph in La Gioconda earlier this year, it is clear that Ekaterina is at the absolute zenith of her powers. Much like the legendary years of Tebaldi and Callas, both she and Anna have reached a 'golden maturity' in 2026. Their voices are now more secure, more expressive, and more resonant than ever before, offering a beauty that only comes with artistic seasoned wisdom.Semenchuk possesses a rare, chameleonic instrument capable of navigating the treacherous waters of both Gioconda and Turandot, making her duets with Netrebko a once-in-a-century event. The earth-shaking power of their confrontation will undoubtedly be matched by Ekaterina’s 'Judgment Scene,' where her dramatic authority and vocal opulence promise to leave the audience in a state of collective awe.

Her current momentum is truly unstoppable. Just a few days ago, on April 30th, Ekaterina achieved a monumental triumph in St. Petersburg. She performed in a historic production of La Forza del Destino at the very theatre where the opera was born. Most incredibly, she sang within the original 1862 stage setting—the exact same production that Verdi himself attended and supervised during the world premiere. To witness her command the stage in such a hallowed, historical context only confirms that she is the definitive Verdi voice of our era. Her success there is the perfect prelude to the historic duets we anticipate with Anna; it is as if the spirit of Verdi’s original vision is alive in her voice

Together, with Anna Netrebko and Yusif Eyvazov , they form what can only be described as a perfect Verdian triad.

A “triangle of steel.”

Three voices capable of riding Verdi’s vast orchestral waves without losing clarity. Three artists who do not simply perform drama, but inhabit it with a visceral intensity. Three timbres shaped by that unmistakable Eastern European depth—dark, burnished, and profoundly expressive.

Elevating this musical feast is the divine vision of Iranian director Shirin Neshat. Moving away from literal interpretations, Neshat embraces a world of symbolic beauty and overwhelming visual elegance.

Her production is a masterpiece of light and shadow, where the night belongs to the passion ignited by a Radamès who loves only Aida, and an Amneris obsessed with claiming a heart that is not hers.

The aesthetic is breathtaking: exquisite jewel-dresses inspired by the Golden Age of Persian craftsmanship clothe the rivals in fire and earth tones. This sophisticated interplay of lights and colors creates a magical atmosphere that will be equally captivating from every tier of the Liceu. It is a show where the brilliance of the staging meets the most definitive voices of our era—a poetic, melancholic, and fiery journey that is destined to become the 'Aida of the Century.

What makes Shirin Neshat’s direction truly divine is her ability to transform the operatic stage into a sanctuary of high art. For those who cherish elegance and formal beauty, her production of Aida is a masterpiece of restraint and impact. She does not rely on the literal or the cluttered; instead, she masters the art of captivating contrasts.Her vision is a sophisticated play of light and shadow, where the starkness of the architectural spaces meets the intricate richness of the costumes. The way she uses light is almost architectural itself—carving out the emotions of the characters and highlighting the 'jewel-dresses' that evoke the lost majesty of the Golden Age of Persia. It is an overwhelming visual elegance that treats every scene like a gallery-worthy photograph.The impact of Neshat’s work lies in its silence and its fire. She understands that true drama is found in the stillness of a gaze or the way a deep earth-tone silk catches the light. For a lover of refined productions, her work is a dream realized: a world where the spirit of ancient Egypt is reimagined through a Persian lens of exquisite beauty. Neshat does not just direct an opera; she sculpts a visual experience that is as hauntingly melancholic as it is fiercely passionate. It is, quite simply, fascinating.

As the final notes of Verdi’s score fade into the silence of the theater, one can already envision the thunderous 'Bravos' echoing from the gallery to the stalls. It is a production where history, fashion, and vocal genius collide—a visual and emotional masterpiece that will forever be remembered as the night the spirits of Persia and Egypt met on the stage of the Liceu.

In a theatre like the Liceu, this combination is not just effective.

It is explosive. And this is why that night feels so inevitable.

Because everything about it suggests not just excellence, but alignment.

Outside, Barcelona will glow with that late-summer warmth, the city alive with movement and anticipation. Inside, the theatre will gather a world of listeners—each carrying their own expectations, their own memories, their own reasons for being there.

But when the curtain rises, all of that will dissolve.

There will be only Verdi. Only Aida. Only that voice.

And perhaps that is what moves me most—the awareness that this night will not come again. That it exists only once, suspended in time, waiting to be lived fully, intensely, without distraction.

The summer before it… will feel endless.

And yet, in a strange way, that is part of the beauty.

Because every day of that summer will carry a quiet, luminous thought:

This is coming. This night exists. And I will be there. Waiting for the first note.

From the moment the season was announced, everything began to orbit around that night. Not simply because it is the opening, but because it carries the unmistakable aura of inevitability—the sense that something extraordinary will occur, something that will be spoken of long after the final applause has dissolved into memory.

The season itself unfolds like a dream carefully composed. Verdi, Bellini, Mozart, Wagner — pillars of the repertoire brought to life by some of the most extraordinary voices of our time. One reads the names of such great stars and feels a quiet astonishment: Anna Netrebko, Ekaterina Semenchuk, Fiorenza Cedolins, Ksenia Dudnikova, Anna Pirozzi, Olga Maslova, Ewa Plonka, Yusif Eyvazov, Piotr Beczala, Artur Rucinski, Ariun Ganbaatar, Lisette Oropesa, Marina Monzó, Caterina Piva , Raffaella Lupinacci, Karine Deshayes, Jack Swanson, Marianne Crebassa, Lina Johnson, Freddie De Tommaso, Pene Pati, Roberto Alagna, Kang Wang, Artur Rucinski, Andrzej Filonczyk, Pretty Yende, Ermonela Jaho, Carolina López Moreno, Serena Sanz, Sara Blanch, Stefano Palatchi, Bo Skovhus, Nicholas Brownlee, Tanja Ariane Baumgartner, Okka von der Damerau, Nicky Spence, Mikeldi Atxalandabaso, Sondra Radvanovsky, Angelo Villari, Àngel Òdena, Hilary Summers, Claudia Boyle, Christine Rice, Ilanah Lobel-Torres, Nicky Spence, Askim Grigorian, Marta Infante, Nina Stemme, Elsa Benoit, Florian Sempey, Josep Bros, Laura del Río, Aigul Akhmetshina.

Each of them could anchor a season. Here, they form a galaxy of wonderful voices.

And yet—even among such brilliance—there is one star whose gravity is absolute.

Anna Netrebko.

To speak of anticipation is almost insufficient. What surrounds her appearance as Aida is something closer to a collective emotional crescendo, building month after month, fed by memory, admiration, and the simple, undeniable truth that we are witnessing one of the defining artists of our era in a role that seems destined for her.

Aida.

There are roles that singers perform, and there are roles that reveal them. Aida belongs to the latter. It demands not only vocal grandeur but also vulnerability, introspection, and an almost spiritual connection to Verdi’s musical language. In the hands of Netrebko, one senses that this role will not merely be sung—it will be lived, inhabited, transformed into something intensely personal and, at the same time, universally resonant.

But before a single note is heard, before the orchestra breathes its first phrase, there is the city.

Barcelona on that evening will not simply host an event; it will become an atmosphere.

As the sun lowers itself into the Mediterranean, the light over the city takes on that golden softness that feels almost cinematic. Along the coast, in Port Vell and beyond, the silhouettes of yachts gather like quiet witnesses to what is about to unfold. These are not incidental presences—they are part of the ritual. Their passengers, having crossed seas or continents, arrive not merely as spectators but as participants in a global pilgrimage of culture.

At Barcelona–El Prat Airport, private jets touch down with quiet precision, releasing into the Catalan air figures whose lives are usually defined by distance and exclusivity. And yet, on this night, all distances collapse into a single destination: the Liceu.

By the time the first guests approach La Rambla, the transformation is complete.

The theatre stands illuminated, its façade both welcoming and majestic, as if aware of its own role in the evening’s narrative. The red carpet extends outward like an invitation—and a statement. It is not merely a path; it is a threshold between the everyday and the exceptional.

And what a gathering it becomes.

The elegance is immediate, but it is also layered. There are the great figures of Catalan cultural life, dignified and rooted, sharing space with international collectors of experience—individuals for whom opera is not simply entertainment but a form of emotional truth. One glimpses guests from Latin America, from Europe, from Asia—voices in different languages, united by a single expectation.

Fashion moves like a living gallery: couture that reflects not only wealth but intention, taste, and the desire to honor the occasion. There is a rhythm to the arrivals, a choreography of presence and perception. Cameras flash, but even the photographers seem aware that they are documenting a prelude, not the main act.

Because the true center of gravity is not outside.

It is behind the curtain.

Inside the theatre, beyond the golden proscenium, beyond the murmurs and the chandeliers, Anna Netrebko is already there. Preparing. Focusing. Entering that sacred space where the artist withdraws from the world in order to give it something greater.

There is something profoundly moving in this contrast. Outside, movement, light, voices. Inside, stillness. Concentration. The quiet forging of what will soon become sound, emotion, revelation.

Meanwhile, in the Saló dels Miralls, conversations unfold in a dozen languages. Glasses meet in soft toasts. Names are exchanged, recognitions spark, and yet—beneath it all—there is a shared awareness that everything leads to the same moment.

When the lights dim.

When the orchestra begins.

When Verdi’s music rises like a breath drawn collectively by everyone in the room.

And then—Aida.

The opening night cast itself reads like a declaration:

Yusif Eyvazov as Radamès, bringing a voice of heroic intensity and ardent expression. His timbre, unmistakable and direct, carries the kind of emotional immediacy that makes Verdi’s lines feel urgent, alive.

Ekaterina Semenchuk as Amneris, a role she inhabits with formidable authority. Hers is not merely a voice—it is an instrument of dramatic truth, capable of both regal command and devastating vulnerability.

And at the center, Netrebko’s Aida—fragile and immense, intimate and monumental. A voice that can whisper and fill a theatre in the same breath. A presence that transforms the stage into something almost sacred.

That night will not be just a performance. It will be a convergence of artistry at its highest level—a moment in which everything aligns: the music, the voices, the audience, the city.

And yet, the richness of this Aida extends far beyond its opening.

The multiple casts offer a panorama of interpretations, each bringing new color and perspective. Anna Pirozzi’s Aida, for instance, promises a different but equally compelling journey—her voice, generous and luminous, infused with that unmistakable Verdian amplitude that speaks directly to the heart. Olga Maslova and Ewa Plonka add further depth, ensuring that each performance carries its own identity, its own emotional architecture.

The same multiplicity enriches the roles of Amneris and Radamès, with artists such as Ksenia Dudnikova, Fiorenza Cedolins, Piotr Beczała, and Arsen Soghomonyan contributing their distinct vocal and dramatic signatures. It is this abundance that transforms Aida from a single highlight into a sustained celebration.

Beyond Verdi, the season continues to unfold with equal elegance.

Bellini returns in I Capuleti e i Montecchi, where Lisette Oropesa takes on Giulietta—a role that seems written for her sensibility. There is a purity in her singing, a line so refined that it feels almost suspended in air. Her artistry does not impose; it reveals. And in Bellini, that quality becomes transcendent.

Mozart’s La clemenza di Tito offers a different emotional landscape—one of introspection, moral complexity, and luminous balance. Under refined musical direction, it becomes not just an opera, but a meditation on power, forgiveness, and humanity.

And then, like a summit awaiting ascent, the presence of Lise Davidsen. To hear her in Verdi is to encounter a voice that seems almost elemental—vast, radiant, unyielding. She represents something rare: not only excellence, but expansion. The sense that the art form itself grows through her.To follow her journey beyond Barcelona—to Berlin, to La forza del destino—is to trace the arc of a truly exceptional career, one that defines an era.

And so, the season unfolds.

But always, the mind returns to that first night.

To the anticipation that builds not only in the weeks before, but in the imagination itself. To the knowledge that, in a world so often fragmented and fleeting, there are still moments that gather us together—across languages, across cultures, across lives—for a shared experience of beauty.

Teresa Stolz - Aida - 1872

The True Premiere: Verdi, Stolz, and the Birth of Aida" "The genesis of Aida is a story of artistic obsession and uncompromising standards. Although the opera saw its world premiere in Cairo in 1871 to celebrate the opening of the Suez Canal, Giuseppe Verdi was famously absent. He had no desire to undertake the long journey to Egypt, but more importantly, he felt that a premiere in front of an invited audience of dignitaries and aristocrats was not a 'true' musical event.For Verdi, the official premiere took place months later, in 1872, at Teatro alla Scala in Milan. This was the performance he personally supervised, and it was here that he introduced the world to his ideal protagonist: Teresa Stolz .Stolz was the 'Stravadaria' of sopranos, possessing a voice of bronze-like power and ethereal silk. Verdi wrote the role with her specific timbre in mind—a voice that could cut through a massive orchestra yet float the most delicate pianissimos. In Milan, under Verdi’s direct guidance, Stolz defined the role of the Ethiopian princess for eternity.The composer’s refusal to go to Cairo was a statement of intent: he believed that music belonged to the public and the sanctuary of the opera house, not to political spectacles. By choosing Milan and Stolz, Verdi ensured that Aida would not be remembered as a mere commission for the Khedive, but as a masterpiece of human emotion and vocal supremacy.

The journey of Aida across the world is not simply the history of an opera—it is the story of how a work of art becomes universal, transcending borders, languages, and generations. From its very conception, Giuseppe Verdi created something that would not remain confined to a single stage or audience, but would instead travel, evolve, and embed itself deeply into the cultural fabric of the world.

Origins: Cairo and the Birth of a Global Masterpiece

Aida was born under extraordinary circumstances. Commissioned for the Khedivial Opera House in Cairo, its premiere on December 24, 1871, was already an event of international significance. The opera was conceived as a celebration of Egypt’s cultural prestige, and its staging reflected an unprecedented level of historical and visual ambition. The renowned Egyptologist Auguste Mariette designed the costumes and supervised the scenic concept, ensuring an exotic authenticity that fascinated European audiences.

Despite Giuseppe Verdi not attending the premiere, the reception was overwhelmingly enthusiastic. Contemporary accounts describe a captivated audience, interrupting the performance repeatedly with applause, reacting not just to arias but to phrases—an indication of how immediately the music resonated.

Yet, for Verdi, this was not the true test.

Milan 1872: The Definitive Artistic Triumph

The composer considered the European premiere at Teatro alla Scala on February 8, 1872, to be the real validation of Aida. Here, everything aligned under his closer supervision.

The role of Aida had been written specifically for Teresa Stolz, whose voice embodied the dramatic and lyrical qualities Verdi envisioned. Alongside her, Maria Waldmann as Amneris became the composer’s favored interpreter of the role, shaping its performance tradition for years to come.

The Milan premiere was a triumph. Critics and audiences alike recognized that Aida was not merely another success—it was a turning point in Verdi’s career, combining the grandeur of French grand opera with the emotional intimacy of Italian lyricism.

Interestingly, Verdi had composed an alternative overture to replace the original prelude but ultimately rejected it, calling it “pretentious insipidity.” This unused symphonic piece would later attract interest, performed by conductors such as Arturo Toscanini in 1940 and, more recently, by Riccardo Chailly and John Eliot Gardiner.

Expansion Across Italy and Europe

Following Milan, Aida spread rapidly throughout Italy, appearing in major theatres such as:

Teatro Regio di Parma (1872)

Teatro di San Carlo (1873)

La Fenice (1873)

Teatro Regio di Torino (1874)

Teatro Costanzi (1881)

In many of these productions, Verdi himself was directly involved, refining details and ensuring interpretative fidelity. This hands-on approach helped establish a performance tradition that would influence generations.

A Global Phenomenon: Late 19th Century

What followed was nothing short of extraordinary. Within just a few years, Aida had become a global phenomenon, performed across continents:

Mexico City (1877) at the Gran Teatro Nacional

Lisbon (1878) at the Teatro Nacional de São Carlos

Paris (1880) at the Palais Garnier

New York (1886) at the Metropolitan Opera

One particularly legendary moment occurred in Rio de Janeiro in 1886. During rehearsals, internal conflicts within the company led to a crisis. A young cellist, only 19 years old—Arturo Toscanini—was asked to conduct. He led the entire opera from memory, launching what would become one of the most illustrious conducting careers in history.

By the late 19th century, Aida had reached:

Teatro Real (1874)

Vienna State Opera (1874)

Hungarian State Opera House (1875)

Mariinsky Theatre (1875)

Royal Opera House (1876)

Its rapid dissemination reflects not only its popularity but its adaptability—Aida could be performed in Italian, French, or translated versions, always retaining its dramatic power.

The 20th Century: Recording, Broadcasting, and Legends

In the 20th century, Aida entered a new phase—one defined by technology and iconic interpretations.

A landmark moment came in 1949, when a complete performance conducted by Arturo Toscanini was broadcast on NBC television from New York, featuring Herva Nelli and Richard Tucker. This brought Aida into homes, expanding its reach beyond the opera house.

Other legendary performances include:

1955: Maria Callas under Tullio Serafin

1959: Renata Tebaldi under Herbert von Karajan

Each of these interpretations redefined the role, highlighting different aspects of Aida’s character—from Callas’s dramatic intensity to Tebaldi’s vocal opulence.

Aida Today: A Living Tradition

Today, Aida remains one of the most performed operas in the world. Its appeal lies in its unique balance: spectacle and intimacy, grandeur and humanity. It can fill vast arenas like the Arena di Verona, yet remain deeply moving in more intimate theatres.

Modern productions continue to reinterpret its themes—identity, exile, love, and sacrifice—while maintaining the musical integrity that has made it timeless.

From Cairo to Milan, from New York to Tokyo, from the 19th century to the present day, Aida has never ceased to evolve.

And that is perhaps its greatest achievement.

It is not a relic of the past.

It is a living work—one that continues to find new voices, new audiences, and new meanings.

Each performance adds another layer to its history.

Each generation rediscovers it.

And each time the curtain rises, somewhere in the world, Verdi’s music reminds us why Aida endures—not only as an opera, but as a universal human experience.

Barcelona - L'elisir d'amore by Donizetti - 22 nov / 15 dec 2025

Tomorrow, November 22nd, we celebrate International Music Day — a date devoted to the universal language that unites cultures, eras, and hearts. And what better way to honour it than by surrendering ourselves to the music of Gaetano Donizetti at the Gran Teatre del Liceu. The Symphony Orchestra of this historic theatre will be our guide through the graceful brilliance of one of opera’s most beloved composers. Born in Bergamo just days after this celebratory date — on November 29th, 1797 — Donizetti was a pupil of a student of Mozart himself, a lineage that seems to echo unmistakably in his writing. There is something in Donizetti’s phrasing, his sense of elegance, his luminous melodic lines, that always feels touched by the Mozartian spirit. Tomorrow, as we listen to the enchanting contours of L’elisir d’amore, we will hear that lineage shine clearly. Many consider this opera his most perfect creation: a score where nothing is missing, nothing is superfluous, and where music and drama flow with miraculous naturalness.

The Gran Teatre del Liceu opens its winter season with one of the brightest timeless treasures of the bel canto repertoire: Donizetti’s L’elisir d’amore. Few operas combine charm, tenderness, humour, and technical brilliance as effortlessly as this masterpiece. This new revival, entrusted to the refined and theatrically intelligent staging of Mario Gas, recaptures the freshness, emotional clarity, and simplicity that make L’elisir so universally beloved. Gas’ approach honours tradition while giving the characters a genuine human depth — the sense that beneath the comedy lies the vulnerability, longing, and hope that define the human experience.

The Liceu’s revival promises not only the elegance of Donizetti’s world but also the joy of hearing an opera crafted with absolute mastery. From Nemorino’s heartfelt introspection to Adina’s spirited playfulness, from Belcore’s swagger to Dulcamara’s delightful extravagance, the opera unfolds like a perfectly cut jewel, each facet catching a different glimmer of musical light. The orchestration sparkles; the ensembles intertwine with grace; the arias — those Donizettian melodie eteree — lift us into a realm of pure beauty.

Although I have always been deeply moved by Donizetti’s great tragedies — Anna Bolena, Maria Stuarda, and Roberto Devereux, which remain my personal favourites — L’elisir d’amore stands apart in its perfection. It is a miracle of balance, humanity, and melodic inspiration. Every scene flows into the next as if shaped by a single breath; every number is expressive, memorable, and glowing with sincerity. It is no surprise that audiences around the world have treasured it for generations.

But the truly exceptional nature of this year’s production lies in its opening night on 22 November, a date that suddenly seems destined: International Music Day, Donizetti on the podium, and two extraordinary voices stepping onto the stage of the Liceu.

Javier Camarena and Serena Sáenz: An Evening of Vocal Brilliance

The opening night brings together the incomparable Javier Camarena and the radiant Serena Sáenz, forming a partnership that promises both vocal excellence and emotional authenticity.

Javier Camarena, often described as the “golden voice of Mexico”, is a singer whose artistry continually sets new standards in bel canto. His warm timbre, effortless top notes, and expressive phrasing turn every aria into a confession of the heart. Few tenors alive today possess his combination of technical command and genuine emotional transparency. Camarena’s Nemorino does not merely sing “Una furtiva lagrima”; he lives it, pouring into it all the tenderness, hope, and vulnerability that define one of the most iconic moments in opera.

Beside him shines the enchanting Serena Sáenz, a fabulous soprano from Barcelona whose talent, charm, and musical intelligence have captured the attention of opera houses across Europe. Her voice — bright, silvery, and agile — possesses that rare quality of sounding simultaneously youthful and profound. Sáenz brings to Adina a perfect fusion of spirited wit and emotional depth. Her phrasing is clean and expressive, her coloratura effortless, and her stage presence filled with natural warmth , the ideal Adina. She is a true emerging star, and her performance and debut on the role ,promises to be one of the revelations of the season.

Together, Camarena and Sáenz embody everything that L’elisir d’amore should be: tender, sparkling, humorous, and deeply human. Their chemistry, supported by the lush sound of the Liceu’s orchestra, will make this opening night not just an artistic event but a celebration of the beauty and vitality of music itself.

Operatic Stars Align : Michael Spyres & Marina Monzó , 24th november , an Evening to Remember 

Spyres and Monzó Take the Stage in Barcelona

On Monday, November 24, the highly anticipated debut in this series of performances will feature the celebrated Michael Spyres, the extraordinary tenor-baritone whose remarkable versatility allows him to master roles across both tenor and baritone repertoire. Soon to perform Tristan in New York—an eagerly awaited moment for the city’s musical society—Spyres now brings his brilliant, powerful, and radiant voice to Barcelona. In the role of Nemorino, he will enchant the audience with his sublime bel canto artistry, effortlessly blending lyricism and strength, demonstrating why he is equally at home singing Calaf, Nemorino, or even Wagner. A fabulous Nemorino awaits us alongside a divine soprano, an unsurpassed cast. His performance will offer a truly unforgettable musical experience.

Sharing the stage, and also making her debut in this series, is the charming Valencian soprano Marina Monzó, whose beautiful , luminous and expressive voice has already captivated audiences across the globe. She has performed Adina to great acclaim at the Teatro del Maggio Musicale in Florence, and her career includes remarkable appearances at prestigious venues such as the Teatro Real in Madrid (Zerlina in Don Giovanni and Inés in La favorita), the Teatro San Carlo in Naples (Gilda in Rigoletto and Oscar in Un ballo in maschera), the Royal Opera House Muscat in Oman (Giulia in La scala di seta), the Grand National Theatre of China (Susanna in Le nozze di Figaro and Zerlina in Don Giovanni), the Welsh National Opera (Gilda in Rigoletto), the Teatro de la Zarzuela (Marola in La tabernera del puerto), and the Palau de les Arts (Despina in Così fan tutte) and Lauretta , among others.

On Monday, Barcelona’s audience will have the extraordinary opportunity to witness two of the finest voices of the contemporary operatic scene. Michael Spyres’ versatile mastery of bel canto and Marina Monzó’s luminous soprano promise an evening of exquisite artistry, elegant phrasing, and emotional depth—truly a celebration of the magic and grandeur of opera.

A Season of Radiance at the Gran Teatre del Liceu:

The 2024–25 Revival of Donizetti’s L’elisir d’amore
Starring Serena Sáenz and Javier Camarena — A Gala Opening Night of Pure Bel Canto Magic

The Gran Teatre del Liceu welcomes the 2024–25 season with one of the most beloved jewels of the bel canto repertoire: Gaetano Donizetti’s L’elisir d’amore. This revival, entrusted to the elegant and theatrically insightful staging of Mario Gas, offers audiences the irresistible combination of sparkling comedy, romantic tenderness, and vocal virtuosity that has made this opera a timeless favourite. With its succession of world-class casts and its richly detailed artistic vision, the Liceu proposes a celebration of bel canto in its purest and most luminous form.

Above all, the production’s opening night on 22 November stands out as a genuinely exceptional event, thanks to the brilliance of two extraordinary artists: Serena Sáenz and Javier Camarena. Together, they embody the very essence of the L’elisir d’amore tradition—youthful freshness and deep emotional sincerity paired with musical refinement of the highest order.

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Serena Sáenz: A Star Ascending with Astonishing Grace

Few young sopranos have risen so quickly and so deservedly as the Spanish soprano Serena Sáenz, whose artistic career is marked by a combination of vocal beauty, technical mastery, and an irresistible natural charm. Her universal acclaim began with her extraordinary triple prize victory at Operalia 2022 in Riga, a rare achievement that instantly placed her among the most promising artists of her generation. Since then, she has established herself as a regular guest in many of the world’s most esteemed opera houses, her talent effortlessly adapting to roles that demand both virtuosity and expressive depth.

Sáenz’s path to the top has been studded with distinctions. Recipient of the 2018 Premi Mozart, she has already conquered some of Mozart’s most demanding heroines. Her Konstanze in Die Entführung aus dem Serail at the Vienna State Opera earned admiration for her crystalline coloratura and fearless high register, while her Susanna in Barrie Kosky’s celebrated staging of Le nozze di Figaro confirmed her versatility and dramatic intelligence.

In parallel, Sáenz’s mastery of the bel canto idiom has grown increasingly impressive. Her Zerbinetta at the Staatsoper Berlin showcased her dazzling agility and vivid theatrical personality, while her portrayal of Lucia in Lucia di Lammermoor at the Deutsche Oper Berlin revealed an emotional intensity and expressive detail that firmly established her as a soprano of true dramatic potential.

Her appearance at the Liceu as Adina carries special significance: it marks Sérna Sáenz’s first interpretation of this role at her home theatre, and it promises a portrayal characterised by brilliance, vivacity, and irresistible charm. With her luminous timbre and natural ease on stage, Sáenz brings to Adina a rare synthesis of elegance, intelligence, and lyrical warmth.

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Javier Camarena: The Bel Canto Tenor of Our Time

Sharing the limelight on this prestigious opening night is the incomparable Mexican tenor Javier Camarena, universally recognised as one of the greatest bel canto tenors of the modern era. His artistry—defined by exquisite phrasing, radiantly beautiful tone, astonishing upper register, and unmistakable emotional sincerity—has earned him a place among the legends of the Metropolitan Opera, where he became only the third singer in seventy years to be invited to perform an encore.

Critics around the world have praised Camarena for his “gobsmacking beauty, thrillingly secure high notes, and delicious timbre.” His portrayals of Rossini, Bellini, and Donizetti heroes have made him a reference point in the genre. Particularly unforgettable was his La sonnambula at the Metropolitan Opera, which he described as “one of the most beautiful experiences of my career,” enhanced by his partnership with the equally dazzling Diana Damrau.

Camarena’s Nemorino—tender, honest, and endowed with that rare combination of innocence and artistic refinement—promises to be one of the emotional highlights of the Liceu season. His performance of the iconic aria “Una furtiva lagrima” will undoubtedly be greeted with the same enthusiasm and devotion that have accompanied his appearances in the world’s top theatres.

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A Production of Subtle Charm and Deep Musical Intelligence

The scenic universe of this revival is shaped by the refined stage direction of Mario Gas, whose sensitivity and theatrical instinct illuminate the opera’s delicate balance between comedy and heartfelt emotion. His interpretation, now revived by Leo Castaldi, preserves the elegance and humanity that have made this staging one of the Liceu’s most beloved.

Marcelo Grande’s set and costume designs contribute a visual language full of warmth, colour, and romantic atmosphere—precisely the aesthetic foundation L’elisir d’amore requires to flourish. The luminous touch of Quico Gutiérrez’s lighting creates a visual tapestry in constant dialogue with the music, enhancing moments of intimacy and heightening the opera’s most effervescent scenes.

The production team, carefully assembled by the Gran Teatre del Liceu, includes essential contributors such as assistant director Yannis Herrera, costume assistant Berta Riera, and musical assistant Xavier Palà. Their work, along with that of the team of musical coaches—Véronique Werklé, Rodrigo de Vera, David-Huy Nguyen-Phong, and Jaume Tribó—ensures a performance rich in stylistic precision and expressive nuance.

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An Orchestra and Chorus of Liceu Excellence

The Liceu Chorus, under the direction of Pablo Assante, brings vitality and cohesion to Donizetti’s choral writing, offering a performance full of colour, rhythmic energy, and vocal brilliance. Their contribution heightens both the comic and the romantic dimensions of the opera.

The Liceu Symphony Orchestra, led by maestro Diego Matheuz, brings a vibrant, transparent, and dynamic reading of Donizetti’s score. Matheuz’s direction promises tempi full of natural flow, refined phrasing, and that characteristic bel canto luminosity that allows the singers to shine while enriching the music’s emotional texture.

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An Outstanding Rotation of World-Class Casts

Beyond the opening night, the Liceu’s lineup for this production reads like a celebration of international vocal talent. Alongside Serena Sáenz, the role of Adina will be interpreted by the exquisite Pretty Yende, whose charisma and velvet timbre are adored worldwide, and the radiant Spanish soprano Marina Monzó, admired for her expressive sensitivity and vocal grace.

The role of Nemorino alternates between three exceptional tenors: Javier Camarena, Michael Spyres, and Filipe Manu, offering audiences a rare opportunity to experience multiple world-class interpretations of this beloved character.

Equally distinguished are the three baritones sharing the role of Belcore—Huw Montague Rendall, Carles Pachón, and Jan Antem—each bringing his own voice, charm, and theatrical nuance.

The unforgettable showman Doctor Dulcamara will be portrayed by three masters of the buffo tradition: Ambrogio Maestri, Fabio Capitanucci, and Simón Orfila, all celebrated for their comic brilliance and musical expertise. Completing the cast, Anna Farrés and Núria Vilà alternate as Giannetta, infusing the stage with freshness and lively charm.

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A Season of Joy, Beauty, and Theatrical Delight

With such a parade of artistic brilliance, the Liceu’s 2024–25 L’elisir d’amore promises to be a season filled with emotion, delight, and unforgettable musical moments. The opening night of 22 November, led by the unparalleled pairing of Serena Sáenz and Javier Camarena, sets a golden standard for the performances to follow.

This revival is not merely a return of a beloved opera—it is a celebration of the human voice, of theatrical imagination, and of the timeless enchantment that only bel canto can offer. In the hands of these exceptional artists, Donizetti’s masterpiece emerges once more in all its sweetness, humour, and heartfelt beauty, inviting audiences to surrender to the joy of music at its most sublime.

Сезон блеска в театре «Лисео»:

Возрождение «Любовного напитка» Доницетти в 2024–25 годах

В главных ролях Серена Саэнс и Хавьер Камарена — Гала-премьера чистого волшебства бельканто

Театр «Лисео» встречает сезон 2024–25 годов одной из самых любимых жемчужин репертуара бельканто: «Любовным напитком» Гаэтано Доницетти. Это возрождение, в элегантной и театрально проницательной постановке Марио Гаса, предлагает зрителям неотразимое сочетание искрометной комедии, романтической нежности и вокальной виртуозности, сделавшей эту оперу вневременной любимицей публики. Благодаря череде актёров мирового класса и богатому художественному видению, театр «Лисео» предлагает празднование бельканто в его чистейшей и лучезарной форме.

Прежде всего, премьера постановки 22 ноября стала поистине исключительным событием благодаря блестящему исполнению двух выдающихся артистов: Серены Саэнс и Хавьера Камарены. Вместе они воплощают самую суть традиции «Любовного напитка» — юношескую свежесть и глубокую эмоциональную искренность в сочетании с музыкальной утончённостью высочайшего уровня.

Серена Саэнс: звезда, восходящая с поразительной грацией

Немногие молодые сопрано достигли вершин так быстро и заслуженно, как испанская сопрано Серена Саэнс, чья творческая карьера отмечена сочетанием вокальной красоты, технического мастерства и неотразимого природного обаяния. Её всеобщее признание началось с её невероятной тройной победы на фестивале Operalia 2022 в Риге — редкого достижения, которое сразу же поставило её в один ряд с самыми многообещающими артистками своего поколения. С тех пор она стала постоянной гостьей во многих самых уважаемых оперных театрах мира, её талант легко адаптируется к партиям, требующим как виртуозности, так и глубины выразительности.

Путь Саэнс к вершинам славы был усеян наградами. Лауреат премии «Премии Моцарта» 2018 года, она уже покорила некоторых из самых требовательных героинь Моцарта. Её Констанция в «Похищении из сераля» в Венской государственной опере заслужила восхищение благодаря её кристальной колоратуре и бесстрашному высокому регистру, а её Сюзанна в знаменитой постановке «Свадьбы Фигаро» Барри Коски подтвердила её многогранность и драматический талант.

Параллельно с этим, мастерское владение Саэнс языком бельканто становилось всё более впечатляющим. Её исполнение Цербинетты в Берлинской государственной опере продемонстрировало её ослепительную ловкость и яркую театральную индивидуальность, а исполнение Лючии в опере «Лючия ди Ламмермур» в Немецкой опере Берлина раскрыло эмоциональную глубину и выразительную детализацию, которые прочно закрепили за ней статус сопрано с подлинным драматическим потенциалом.

Её выступление в Лисео в роли Адины имеет особое значение: это первое исполнение Серной Саэнс этой роли на родине, и оно обещает образ, отличающийся блеском, живостью и неотразимым обаянием. Благодаря своему сияющему тембру и естественной лёгкости на сцене, Саэнс привносит в образ Адины редкий синтез элегантности, интеллигентности и лирической теплоты.

Хавьер Камарена: Тенор бельканто нашего времени

На этом престижном открытии в центре внимания будет несравненный мексиканский тенор Хавьер Камарена, общепризнанный одним из величайших теноров бельканто современности. Его мастерство, отличающееся изысканной фразировкой, лучезарной красотой голоса, поразительным верхним регистром и несомненной эмоциональной искренностью, обеспечило ему место среди легенд Метрополитен-опера, где он стал всего лишь третьим певцом за семьдесят лет, приглашенным выступить на бис.

Критики всего мира восхваляли Камарену за его «потрясающую красоту, захватывающе уверенные высокие ноты и восхитительный тембр». Его образы героев Россини, Беллини и Доницетти сделали его эталоном в этом жанре. Особенно незабываемой стала его «Сомнамбула» в Метрополитен-опера, которую он назвал «одним из самых прекрасных впечатлений в своей карьере», подчеркнутая партнерством с не менее блистательной Дианой Дамрау.

Неморино в исполнении Камарены — нежный, искренний, наделенный редким сочетанием невинности и художественной утонченности — обещает стать одним из самых трогательных событий сезона «Лисео». Его исполнение культовой арии «Una furtiva lagrima» несомненно будет встречено с тем же энтузиазмом и преданностью, которые сопровождали его выступления в ведущих театрах мира.

Спектакль, полный тонкого обаяния и глубокого музыкального интеллекта

Сценический мир этого возобновления оперы создан благодаря изысканной режиссуре Марио Гаса, чья чуткость и театральное чутье подчеркивают тонкий баланс между комизмом и искренними чувствами. Его интерпретация, возрожденная Лео Кастальди, сохраняет элегантность и человечность, которые сделали эту постановку одной из самых любимых в «Лисео».

Сценография и костюмы Марсело Гранде создают визуальный язык, полный тепла, цвета и романтической атмосферы — именно ту эстетическую основу, которая необходима для расцвета «Любовного напитка». Светящееся прикосновение

Eine strahlende Saison im Gran Teatre del Liceu:

Die Wiederaufnahme von Donizettis „L’elisir d’amore“ 2024/25

Mit Serena Sáenz und Javier Camarena – Ein glanzvoller Auftakt voller Belcanto-Magie

Das Gran Teatre del Liceu eröffnet die Saison 2024/25 mit einem der beliebtesten Juwelen des Belcanto-Repertoires: Gaetano Donizettis „L’elisir d’amore“. Diese Wiederaufnahme, in der eleganten und einfühlsamen Inszenierung von Mario Gas, bietet dem Publikum die unwiderstehliche Kombination aus spritziger Komik, romantischer Zartheit und stimmlicher Virtuosität, die diese Oper zu einem zeitlosen Klassiker gemacht hat. Mit seinen hochkarätigen Besetzungen und seiner detailreichen künstlerischen Vision präsentiert das Liceu eine Hommage an den Belcanto in seiner reinsten und strahlendsten Form.

Vor allem die Premiere am 22. November ist ein wahrhaft außergewöhnliches Ereignis, dank der Brillanz zweier herausragender Künstler: Serena Sáenz und Javier Camarena. Gemeinsam verkörpern sie die Essenz der Tradition von „L’elisir d’amore“ – jugendliche Frische und tiefe emotionale Aufrichtigkeit, gepaart mit musikalischer Raffinesse auf höchstem Niveau.

Serena Sáenz: Ein Stern, der mit erstaunlicher Anmut aufsteigt

Nur wenige junge Sopranistinnen haben einen so schnellen und verdienten Aufstieg hingelegt wie die spanische Sopranistin Serena Sáenz. Ihre künstlerische Karriere zeichnet sich durch eine Kombination aus stimmlicher Schönheit, technischer Meisterschaft und unwiderstehlichem Charme aus. Ihr weltweiter Ruhm begann mit ihrem außergewöhnlichen dreifachen Preisgewinn bei der Operalia 2022 in Riga – eine seltene Leistung, die sie sofort zu einer der vielversprechendsten Künstlerinnen ihrer Generation machte. Seitdem hat sie sich als regelmäßiger Gast an vielen der renommiertesten Opernhäuser der Welt etabliert. Ihr Talent passt sich mühelos Rollen an, die sowohl Virtuosität als auch Ausdruckstiefe erfordern.

Sáenz' Weg an die Spitze war von Auszeichnungen geprägt. Die Trägerin des Premi Mozart 2018 hat bereits einige der anspruchsvollsten Heldinnen Mozarts gemeistert. Ihre Konstanze in „Die Entführung aus dem Serail“ an der Wiener Staatsoper erntete Bewunderung für ihre kristallklare Koloratur und ihre furchtlose Höhe, während ihre Susanna in Barrie Koskys gefeierter Inszenierung von „Le nozze di Figaro“ ihre Vielseitigkeit und ihr dramatisches Talent unter Beweis stellte.

Parallel dazu hat Sáenz' Beherrschung des Belcanto-Idioms immer mehr an Bewunderung gewonnen. Ihre Zerbinetta an der Staatsoper Berlin demonstrierte ihre umwerfende Agilität und ihre lebendige Bühnenpräsenz, während ihre Darstellung der Lucia in Lucia di Lammermoor an der Deutschen Oper Berlin eine emotionale Intensität und Ausdruckskraft offenbarte, die sie endgültig als Sopranistin mit wahrhaft dramatischem Potenzial etablierte.

Ihr Auftritt am Liceu als Adina ist von besonderer Bedeutung: Es ist Sérna Sáenz’ erste Interpretation dieser Rolle an ihrem Stammhaus und verspricht eine brillante, lebendige und unwiderstehliche Darbietung. Mit ihrem leuchtenden Timbre und ihrer natürlichen Bühnenpräsenz verleiht Sáenz der Adina eine seltene Synthese aus Eleganz, Intelligenz und lyrischer Wärme.

Javier Camarena: Der Belcanto-Tenor unserer Zeit

Im Rampenlicht dieser prestigeträchtigen Premiere steht der unvergleichliche mexikanische Tenor Javier Camarena, der weltweit als einer der größten Belcanto-Tenöre der Moderne gilt. Seine Kunstfertigkeit – geprägt von exquisiter Phrasierung, strahlend schönem Ton, erstaunlicher Höhe und unverkennbarer emotionaler Aufrichtigkeit – hat ihm einen Platz unter den Legenden der Metropolitan Opera eingebracht, wo er als erst dritter Sänger in siebzig Jahren zu einer Zugabe eingeladen wurde.

Kritiker weltweit loben Camarena für seine „atemberaubende Schönheit, seine mitreißend sicheren Höhen und sein wunderbares Timbre“. Seine Darstellungen von Rossini-, Bellini- und Donizetti-Helden haben ihn zu einer Referenzgröße des Genres gemacht. Besonders unvergesslich war seine Interpretation von „La sonnambula“ an der Metropolitan Opera, die er als „eines der schönsten Erlebnisse meiner Karriere“ bezeichnete, nicht zuletzt dank der Zusammenarbeit mit der ebenso brillanten Diana Damrau.

Camarenas Nemorino – zart, ehrlich und mit jener seltenen Verbindung von Unschuld und künstlerischer Raffinesse – verspricht einer der emotionalen Höhepunkte der Liceu-Saison zu werden. Seine Interpretation der ikonischen Arie „Una furtiva lagrima“ wird zweifellos mit derselben Begeisterung und Hingabe aufgenommen werden, die seine Auftritte in den renommiertesten Theatern der Welt begleitet haben.

Eine Inszenierung von subtilem Charme und tiefgründiger musikalischer Intelligenz

Die Bühnenwelt dieser Wiederaufnahme wird von der raffinierten Regie von Mario Gas geprägt, dessen Sensibilität und theatralisches Gespür die feine Balance der Oper zwischen Komik und ergreifender Emotionalität erhellen. Seine Interpretation, nun von Leo Castaldi neu inszeniert, bewahrt die Eleganz und Menschlichkeit, die diese Aufführung zu einer der beliebtesten des Liceu gemacht haben.

Marcelo Grandes Bühnenbild und Kostüme schaffen eine Bildsprache voller Wärme, Farbe und romantischer Atmosphäre – genau die ästhetische Grundlage, die L’elisir d’amore zum Erblühen braucht.

Une saison d'éclat au Gran Teatre del Liceu :

Reprise 2024-2025 de L'elisir d'amore de Donizetti

Avec Serena Sáenz et Javier Camarena — Une soirée d'ouverture de gala, un pur moment de magie bel canto

Le Gran Teatre del Liceu inaugure sa saison 2024-2025 avec l'un des joyaux les plus appréciés du répertoire bel canto : L'elisir d'amore de Gaetano Donizetti. Cette reprise, confiée à la mise en scène élégante et perspicace de Mario Gas, offre au public la combinaison irrésistible d'humour pétillant, de tendresse romantique et de virtuosité vocale qui a fait de cet opéra un classique intemporel. Grâce à une succession de distributions de renommée internationale et à une vision artistique riche et détaillée, le Liceu propose une célébration du bel canto dans sa forme la plus pure et la plus lumineuse.

Avant tout, la première de ce spectacle, le 22 novembre, s'annonce comme un événement véritablement exceptionnel, grâce au talent de deux artistes extraordinaires : Serena Sáenz et Javier Camarena. Ensemble, ils incarnent l'essence même de la tradition de L'elisir d'amore : une fraîcheur juvénile et une profonde sincérité émotionnelle, alliées à un raffinement musical de très haut niveau.

Serena Sáenz : Une étoile montante à la grâce fulgurante

Rares sont les jeunes sopranos à avoir connu une ascension aussi rapide et méritée que la soprano espagnole Serena Sáenz, dont la carrière artistique se caractérise par une combinaison de beauté vocale, de maîtrise technique et d'un charme naturel irrésistible. Sa renommée internationale a débuté avec son extraordinaire triple prix à Operalia 2022 à Riga, un exploit rare qui l'a immédiatement placée parmi les artistes les plus prometteurs de sa génération. Depuis, elle s'est imposée comme une artiste incontournable des plus prestigieuses maisons d'opéra du monde, son talent s'adaptant avec aisance aux rôles exigeant à la fois virtuosité et profondeur expressive.

Le parcours de Sáenz vers les sommets est jalonné de distinctions. Lauréate du Premi Mozart 2018, elle a déjà incarné avec brio certaines des héroïnes les plus exigeantes de Mozart. Sa Konstanze dans <i>L'Enlèvement au sérail</i> à l'Opéra d'État de Vienne a suscité l'admiration pour son colorature cristalline et son registre aigu audacieux, tandis que son interprétation de Susanna dans la célèbre mise en scène des <i>Noces de Figaro</i> par Barrie Kosky a confirmé sa polyvalence et son intelligence dramatique.

Parallèlement, sa maîtrise du bel canto n'a cessé de s'affirmer. Son interprétation de Zerbinetta au Staatsoper de Berlin a mis en lumière son agilité fulgurante et sa personnalité théâtrale flamboyante, tandis que son rôle de Lucia dans Lucia di Lammermoor au Deutsche Oper Berlin a révélé une intensité émotionnelle et une finesse expressive qui l'ont définitivement consacrée comme une soprano au potentiel dramatique exceptionnel.

Sa présence au Liceu dans le rôle d'Adina revêt une signification particulière : il s'agit de la première interprétation de ce rôle par Sérna Sáenz dans son théâtre de prédilection, et elle promet une performance empreinte de brillance, de vivacité et d'un charme irrésistible. Avec son timbre lumineux et son aisance naturelle sur scène, Sáenz confère à Adina une rare synthèse d'élégance, d'intelligence et de chaleur lyrique.

Javier Camarena : Le ténor bel canto de notre époque

Partageant la vedette de cette prestigieuse soirée d'ouverture avec l'incomparable ténor mexicain Javier Camarena, universellement reconnu comme l'un des plus grands ténors bel canto de l'ère moderne. Son art – caractérisé par un phrasé exquis, un timbre d'une beauté rayonnante, un registre aigu stupéfiant et une sincérité émotionnelle indéniable – lui a valu une place parmi les légendes du Metropolitan Opera, où il est devenu le troisième chanteur seulement en soixante-dix ans à être invité à chanter un bis.

Les critiques du monde entier ont salué la « beauté époustouflante, les aigus d'une assurance saisissante et le timbre délicieux » de Camarena. Ses interprétations des héros de Rossini, Bellini et Donizetti ont fait de lui une référence incontournable du genre. Son interprétation de La sonnambula au Metropolitan Opera reste particulièrement inoubliable ; il l'a décrite comme « l'une des plus belles expériences de [sa] carrière », sublimée par sa collaboration avec l'éblouissante Diana Damrau.

Le Nemorino de Camarena – tendre, sincère et doté de cette rare combinaison d'innocence et de raffinement artistique – promet d'être l'un des moments les plus émouvants de la saison du Liceu. Son interprétation de l'aria emblématique « Una furtiva lagrima » sera sans aucun doute accueillie avec le même enthousiasme et la même ferveur que lors de ses prestations sur les plus grandes scènes du monde.

Une production d'un charme subtil et d'une profonde intelligence musicale

L'univers scénique de cette reprise est façonné par la mise en scène raffinée de Mario Gas, dont la sensibilité et l'instinct théâtral éclairent le délicat équilibre de l'opéra entre comédie et émotion sincère. Son interprétation, désormais reprise par Leo Castaldi, préserve l'élégance et l'humanité qui ont fait de cette production l'une des plus appréciées du Liceu.

Les décors et costumes de Marcelo Grande contribuent à un langage visuel empreint de chaleur, de couleurs et d'une atmosphère romantique – le socle esthétique indispensable à l'épanouissement de L'elisir d'amore. Une touche lumineuse.

Una Temporada de Esplendor en el Gran Teatre del Liceu: El Reestreno 2024-25 de L’elisir d’amore de Donizetti

Con Serena Sáenz y Javier Camarena — Una Gala Inaugural de Pura Magia Belcanto

El Gran Teatre del Liceu da la bienvenida a la temporada 2024-25 con una de las joyas más queridas del repertorio belcantista: L’elisir d’amore de Gaetano Donizetti. Este reestreno, bajo la elegante y perspicaz puesta en escena de Mario Gas, ofrece al público la irresistible combinación de comedia chispeante, ternura romántica y virtuosismo vocal que ha convertido a esta ópera en un clásico atemporal. Con un elenco de talla mundial y una visión artística rica en detalles, el Liceu propone una celebración del bel canto en su forma más pura y luminosa.

Ante todo, el estreno de la producción el 22 de noviembre destaca como un evento verdaderamente excepcional, gracias al talento de dos artistas extraordinarios: Serena Sáenz y Javier Camarena. Juntos, encarnan la esencia misma de la tradición de L’elisir d’amore: frescura juvenil y profunda sinceridad emocional, unidas a un refinamiento musical del más alto nivel.

Serena Sáenz: Una estrella que asciende con asombrosa gracia

Pocas sopranos jóvenes han ascendido tan rápido y con tanto mérito como la soprano española Serena Sáenz, cuya trayectoria artística se caracteriza por una combinación de belleza vocal, maestría técnica y un encanto natural irresistible. Su reconocimiento internacional comenzó con su extraordinario triple premio en Operalia 2022 en Riga, un logro excepcional que la situó de inmediato entre las artistas más prometedoras de su generación. Desde entonces, se ha consolidado como invitada habitual en muchos de los teatros de ópera más prestigiosos del mundo, adaptando su talento con facilidad a papeles que exigen tanto virtuosismo como profundidad expresiva.

La trayectoria de Sáenz hacia la cima ha estado plagada de distinciones. Galardonada con el Premio Mozart en 2018, ya ha interpretado con maestría a algunas de las heroínas más exigentes de Mozart. Su Konstanze en El rapto en el serrallo, en la Ópera Estatal de Viena, le valió la admiración por su cristalina coloratura y su audaz registro agudo, mientras que su Susanna en la célebre puesta en escena de Las bodas de Fígaro de Barrie Kosky confirmó su versatilidad e inteligencia dramática.

Paralelamente, su dominio del bel canto se ha vuelto cada vez más impresionante. Su interpretación de Zerbinetta en la Staatsoper Berlin puso de manifiesto su deslumbrante agilidad y su vibrante personalidad teatral, mientras que su papel de Lucia en Lucia di Lammermoor en la Deutsche Oper Berlin reveló una intensidad emocional y un detalle expresivo que la consolidaron como una soprano de verdadero potencial dramático.

Su aparición en el Liceu como Adina reviste una especial importancia: supone la primera interpretación de Sérna Sáenz de este rol en su teatro de origen, y promete una actuación caracterizada por su brillantez, vivacidad y un encanto irresistible. Con su timbre luminoso y su naturalidad en el escenario, Sáenz aporta a Adina una singular síntesis de elegancia, inteligencia y calidez lírica.

Javier Camarena: El tenor belcantista de nuestro tiempo

Compartiendo el protagonismo en esta prestigiosa noche de estreno se encuentra el incomparable tenor mexicano Javier Camarena, reconocido universalmente como uno de los más grandes tenores belcantistas de la era moderna. Su arte —definido por un fraseo exquisito, un timbre radiante, un registro agudo asombroso y una inconfundible sinceridad emocional— le ha valido un lugar entre las leyendas de la Metropolitan Opera, donde se convirtió en el tercer cantante en setenta años en ser invitado a interpretar un bis.

Críticos de todo el mundo han elogiado a Camarena por su «belleza deslumbrante, sus agudos seguros y emocionantes, y su delicioso timbre». Sus interpretaciones de los héroes de Rossini, Bellini y Donizetti lo han convertido en un referente del género. Particularmente inolvidable fue su interpretación de La sonnambula en la Metropolitan Opera, que describió como «una de las experiencias más hermosas de mi carrera», realzada por su colaboración con la igualmente deslumbrante Diana Damrau.

El Nemorino de Camarena —tierno, honesto y dotado de esa rara combinación de inocencia y refinamiento artístico— promete ser uno de los momentos más emotivos de la temporada del Liceu. Su interpretación de la icónica aria “Una furtiva lagrima” será, sin duda, recibida con el mismo entusiasmo y devoción que han caracterizado sus presentaciones en los mejores teatros del mundo.

Una producción de sutil encanto y profunda inteligencia musical

El universo escénico de esta reposición se ve moldeado por la refinada dirección escénica de Mario Gas, cuya sensibilidad e instinto teatral iluminan el delicado equilibrio de la ópera entre la comedia y la emoción sincera. Su interpretación, ahora recuperada por Leo Castaldi, conserva la elegancia y la humanidad que han convertido esta puesta en escena en una de las más queridas del Liceu.

El diseño de escenografía y vestuario de Marcelo Grande aporta un lenguaje visual lleno de calidez, color y una atmósfera romántica: precisamente la base estética que L’elisir d’amore necesita para brillar.