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RIGOLETTO © Antoni Bofill

Verdi Rigoletto

From 28 November TO 18 December 2021
Gran Teatre del Liceu - Barcelona
Program

Verdi : Rigoletto 120 mn

Cast
  • Conductor
    Daniele Callegari
  • Director
    Monique Wagemakers
  • Performers
    Rigoletto: Christopher Maltman
    Gilda: Olga Peretyatko
    Il Duca di Mantova: Benjamin Bernheim
    Sparafucile: Grigory Shkarupa
    Maddalena: Rinat Shaham
  • Venue Info
  • Seating Plan
  • Synopsis

Gran Teatre del Liceu - Barcelona Location La Rambla, 51-59 - 08002 Barcelona Espagne

  • Venue's Capacity: 2290
  • Other : PRICE: The Gran Teatre del Liceu uses "Dynamic Pricing" that means that Prices for all performances are subject to change (increase and decrease) based on their sales. So, the prices may have changed, you will be informed of the new price as soon as possible, you will then be able to choose wether you want to buy your tickets at the new price or to cancel your booking (your credit card will not be charged).

On 4 April 1847, the Gran Teatre del Liceu established by Miguel Garriga, opened its doors with a very diverse programme. Anna Bolena by Donizetti was one of the major events here. In 1861, the theatre caught fire. It was rebuilt one year later to become the true rival of the old Santa Gran Teatre. At the end of the 19th century, the Liceu became the venue where people came to see and be seen; which is why the shows were performed with the house lights left on.

The work of national composers was rarely performed. However, among them were several highly esteemed composers, including GURIDI, ARRIETA and BRETON. The great French operas did not take hold quite as quickly as the Italian repertoire. It was in 1851 that Robert le diable was performed. Enthusiasm for MEYERBEER reached its peak with the performance of the play Les Huguenots in 1856; he is one of the most frequently performed composers in the history of the Liceu. This fascination of the public for the French repertoire grew with the performances of GOUNOD’s Faust in 1864 which was considered, with its 26 consecutive performances, as the last word in opera. At the end of the 19th century, the Liceu was one of the leading opera houses in Europe. Verdi was performed there, as were the great French operas, and national composers such as Felip PEDRELL and Wagner. Die Walküre caused a sensation and the house lights of the Liceu were put out for the first time.

The performance of Mussorgsky’s Boris Godunov on 20 November 1915 marked the beginning of a period of splendour for Russian opera at the Liceu. When the second republic was proclaimed in 1931, political instability led to a serious financial crisis which badly affected the Liceu. During the civil war, the Liceu was nationalised and took the name “Gran Teatre del Liceu”. Its seasons were later suspended.

The activities of the Liceu began again in 1939 under the aegis of the Spanish and German authorities, subject to the propaganda of the Third Reich. Wagner was the most frequently performed composer during this period. In 1955, for the first time in its history, the Festival of Bayreuth was held at the Gran Teatre del Liceu. Germany felt the need to make up for its recent past. Barcelona was an obvious choice, given its longstanding Wagnerian tradition and the authoritarian regime that kept away any hostile element.

On 31 January 1994, the Liceu was once again destroyed by fire and it was rebuilt on the same site. The new building opened in 1999 offering great artistic and technological quality whilst respecting the former décor which had been reproduced. Its stage allows two or three performances at the same time with maximum visibility and an improved acoustic quality.

Gran Teatre del Liceu

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Rigoletto

“La donna è mobile”, “Caro nome”…these are only few of the successful arias contained in this Verdi’s Opera where the identity of the Villain is blurred and whose audience will most certainly cries a river.

When the Italian composer decided to adapt Victor Hugo’s “Le Roi s’amuse”, the play, which harshly and straightforwardly criticises the Royal family, had been already censored. As a consequence, this passionate opera went through many ups and downs before making it to the Venice’s Fenice Theatre, where it premiered on the 11 March 1851. Verdi and librettist Francesco Maria Piave had to change a number of different elements such as the setting, titles and names in order to be allowed to stage it.

HISTORY
The action takes place in the opulent palaces of sixteenth century Mantua. The opera revolves around a licentious Duke's efforts to seduce the beautiful daughter of the hunchback Rigoletto.

Act 1
The Duke of Mantua sings joyfully of his many love affairs. With the help of his hunchbacked jester Rigoletto, the Duke makes fun of the husbands whose wives he has seduced. The jester has a daughter, Gilda, whom he has kept hidden from the Duke, well aware of the Duke's licentious ways. By the end of the act, however, Gilda and the Duke have met, whilst the Duke disguises his real identity. Gilda falls in love with the Duke.

Meanwhile, a group of noblemen employ the jester to help them kidnap a woman, without revealing that the woman is Gilda. Once it is too late, the jester realises that he has unwittingly helped his daughter's kidnappers to carry her away, and is devastated.

Act 2
The Duke is concerned that Gilda has disappeared. The noblemen arrive and tell the Duke about the woman they have kidnapped. They think that Gilda is the jester's mistress, and do not realise that she is his daughter.
The Duke, however, recognises that the woman is Gilda from the way that the noblemen describe her. The jester and the Duke both attempt to save Gilda, with each swearing to take revenge on the other.

Act 3
The Duke is in the house of a noble woman, busy seducing her. Gilda and her father arrive. Gilda is still in love with the Duke, but her father attempts to make her realise that the Duke will never be faithful to her. The jester hires an assassin to kill the Duke, to make sure that the Duke can never try and seduce his daughter again. The assassin's sister, Maddalena, informs Gilda of this plan. Gilda dresses as a man and, still in love with the Duke, takes his place and proves her love by being killed in his stead.

Epilog
The jester is presented with a corpse. Thinking it is the assassinated Duke, he rejoices. Finally, he uncovers the corpse and finds it to be his own daughter. Gilda revives, briefly, and she and her father share a short moment of reconciliation before she dies.

MAIN ROLES
The Duke of Mantua, A rich and licentious man, tenor
Rigoletto, The Duke's court jester, baritone
Gilda, Daughter to the Jester, soprano
Sparafucile, An Assassin, bass
Giovanna, Gilda's nurse, mezzo-soprano
Maddalena, Sister to Sparafucile, mezzo-soprano

Gran Teatre del Liceu © A. Bofill

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