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Gran Teatre del Liceu

Verdi Aida

From 14 January TO 02 February 2020
Gran Teatre del Liceu - Barcelona
Program

Verdi : Aida

4 H Sung in : Italian
Cast
  • Conductor
    Gustavo Gimeno
  • Director
    Thomas Guthrie
  • Performers
    Aida: Anna Pirozzi
    Radamès: Luciano Ganci
    Amneris: Judit Kutasi
    Amonasro: Franco Vassallo
    Ramfis: Marko Mimica
    Il Re: Mariano Buccino
  • 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).

The Venue's History in few words …

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

Synopsis

Aida

This opera is recognised as one of the world's most celebrated. Composed by Verdi, this dramatic tale, pivots around a love triangle.
It reaches the depths of emotion, with great highs of love and deep lows of despair, all common components, in magnificent dramas and tragic narratives. Outstanding performances, powerful arias and lavish mise-en-scene, intertwine, transporting audiences to a space, back in time, amidst the ruins of ancient Egypt.

Mystery, intrigue, passion and pain resonate throughout scenes and this musical, known as the 'Grand Opera', leaves audiences captivated and enthralled within its rhapsody.

HISTORY
In the Egypt of the pharaohs, Ethiopian king Amonasro threats to attack Thebe and the entire Nile valley. Young captain of the guard Radamès finds himself in love with a juvenile Ethiopian slave, named Aida, whose being Amonasro’s daughter he completely ignores. Pharaoh’s daughter Amneris is in love with Radames, instead. Jealousy and passion alongside with betrayal and war will eventually lead to the death of the young slave and her beloved captain.
Act 1
High Priest Ramphis learns from Radamès that Amonasro intends to attack Thebe. Radamès, on the other hand, dreams to be appointed commander of the Egyptian army and to annihilate the Ethiopians infantry in order to be able to claim the hand of Aida, young Ethiopian Pharaoh’s daughter ‘slave. However, Amneris is in love with the young captain and gets ballistic at the idea that he has feeling for her slave, whose heart is parted between the love for her home country and that she feels for the young Egyptian.
Act 2
Amneris tricks Aida into confessing her love for Radamès. Upon triumphantly returning from Ethiopia and accompanied by festive trumpets he asks the pharaoh to pardon the prisoners, among which stands Ethiopian’s king Amonasro and his daughter Aida. Pharaoh decides to grant Radamès request and rewards him with Amneris’ hand.
Act 3
Radamès and Aida arrange to meet by the Nile’s bank but the rendezvous is discovered by Amonasro that thus becomes aware of his daughter ‘secret love. He then suggests her took advantages of the situation to wring useful information, that might be beneficial to the Ethiopian cause, out of Radames. Aida begs her beloved to flee to Ethiopia together and after agreeing he discloses details regarding the route the Egyptian army is taking. After overhearing the conversation, Amonasro gets out of his hiding place and offers the throne and his daughter’s hand to the young commander. Nevertheless, they’re all oblivious of the fact Amneris has witnessed it all and quickly runs to the High Priest that eventually manages to get Radamès arrested for betrayal, whilst Aida is let free to runaway.
Act 4
Amneris promises to spare Radamès life if he gives up his feeling for Aida but he rejects the offer and gets walled up. Amnéris is devastated and cries her heart out in the attempt to save her beloved’s life. In his tomb, the former commander falls prey of sadness and despair but suddenly finds out Aida is in the tomb as well to hold his hand on his way to death.


MAIN ROLES

Aida, Ethiopian Princess - Soprano
Radames, a brave warrior in Egypt's army - Tenor
Amneris, The Pharaoh's Daughter - Mezzo-Soprano
Amonasro, Captive of the King of Egypt - Baritone
Ramfis, The High Priest - Bass
King of Egypt and father to Amneris - Bass

Gran Teatre del Liceu

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