March 18, 2001: Samson et Dalila in Barcelona

2001-03-18 Samson et Dalila (Saint-Saëns), Gran Teatre de Liceu (Barcelona)

Samson = José Cura
Dalila = Markella Hatziano
El Gran Sacerdote = Simon Estes
Viejo Judío = Stefano Palatchi



Sudden debut of José Cura in Samson et Dalila at Barcelona's Gran Teatre de Liceu
I was in Barcelona just for seeing José Carreras as Samson in "his" Opera House. Then the word came out "Enfermidad", Carreras is sick. Cura replaces Carreras. I thought, it could be interesting to compare, and then I love this opera. (Rumors has it that Cura was not the official replacement for the Liceu Samson). Only Cura or Domingo would be great enough a star to replace Josep Carreras in his hometown.

My parents loved José Cura as Samson, so did most of the Spanish press. "Cura was superior to Carreras".

I disagree to that sentiment. Cura sang Samson in Zurich June 10, 2000, and did a much better show in Zurich than here in Barcelona

Act 1. Cura was playing Samson like the ladies man some say Samson was.
Act 2. the best act in the opera, but it was not a memorable act in Barcelona.
Act 3. The emotional act in this opera. But I didn't feel those sentiments.

The one that deserved applause was Stefano Palatchi, the Old Hebrew. I wish I had recorded this evening. Now I must only use my memory. Was it better than I remember it, or is my criticism justified. Don't know. But I remember standing up in the end, and applauding hard. I remember thinking: Why do I applaud it, I didn't feel that Cura was that good. Hysteria...

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February 6, 2005: Il Corsaro in Barcelona

2005-02-06 Il Corsaro (Verdi), Gran Teatre del Liceu, Barcelona

Corrado = José Cura
Medora = Marina Mescheryakova
Gulnara = Susan Neves
Seid = Carlo Guelfi
Giovanni = Josep Ribot
Selimo / Un Eunuco Negro / Schiavo
= José Manuel Zapata

Marco Guidarini, conductor



Il corsaro (versión concierto)

Musical Director
Marco Guidarini

Orquestra Simfònica
del Gran Teatre del Liceu

Cor del Gran Teatre del Liceu

06/02-2005

2005-02-06 Il Corsaro (Verdi), Barcelona

another wonderful concert performance with Jose Cura as Corrado,
Susan Neves as Gulnara, Marina Mescheryakova as Medora, & Carlo
Guelfi as Seid.

Some madrileño had come to Barcelona just to disrupt this
performance. But the Catalan audience hushed him.

OD Travel + Photos

February 5, 2005: Ewa Podles in Barcelona

2005-02-05 Recital, Gran Teatre del Liceu, Barcelona

Ewa Podles, mezzo
Roman Markowicz, Piano

I

Frédéric Chopin (1810-1849)
El desig de la noia, op. 74, núm. 4
El noi ben plantat, op. 74, núm. 8
L’anell, op. 74, núm. 14
Cançó lituana, op. 74, núm. 16
Estimat, op. 74, núm. 12

Gioachino Rossini (1792-1868)
Giovanna d’Arco (Cantata)
“E Notte”
“O mia madre”
“Eppur piange”
“Ah, la fiamma”
“Corre la gioia”


II

Serguei Rakhmàninov (1873-1943)
Crist ha ressucitat, op. 26, núm. 6
Des que ha arribat l’amor, op. 14, núm. 3
En el silenci de la nit, op. 4, núm. 3
Tot passa, op. 26, núm. 15
Tant bella com el migdia, op. 14, núm. 9
Rius de primavera, op. 14, núm. 11

Johannes Brahms (1833-1897)
Zigeunerlieder, op. 103
“He, Zigeuner”, núm. 1
“Hochgetürmte Rimaflut”, núm. 2
“WiBt ihr”, núm. 3
“Lieber Gott”, núm. 4
“Brauner Bursche”, núm. 5
“Röslein Dreie”, núm. 6
“Kommt dir manchmal”, núm. 7
“Rote Abendwolken”, núm. 8




Date Serie Price scale*
Saturday 05-02-2005 18:00 h F IV

Saturday 5th, 2005. I decided go early to the Gran Teatre del Liceu to get the guided tour at 10am and I decided also to see the club Cercles de Liceu. Of course the most interesting part of the opera house was closed, the backstage, the technical areas, and not allowed to take photos of the stalls, but the mirror hall was allowed. And the club was nice, but not that interesting. I only got a head-ache after these guided tours. Then I needed some food and I went to the MacDonalds just over the road of Espai Liceu. I had an interresting view. The MacDonalds sign at the top of the small window and the view of Liceu and in the middle the front of the programme of Wolff-Ferrari´s Sly which I saw in June 2000. Ironic and worlds apart.

Then in the evening, Recital Ewa Podles at 1800. It lasted 2 hours with songs of Chopin, Rossini, Rachmaniov & Brahms, the first extra Cruda sorte from Rossini´s L'Italiana in Algeri. and then something that sounded like de Falla's Polo from Siete cançiones españolas, and Spanish song of Rossini.

Then I waited for Ewa Podles to come by the stage door. I took some photos, and I almost talked to her.

OD Travel

February 3, 2005: Il Corsaro in Barcelona

2005-02-03 Il Corsaro (Verdi), Gran Teatre del Liceu, Barcelona

Corrado = José Cura
Medora = Marina Mescheryakova
Gulnara = Susan Neves
Seid = Carlo Guelfi
Giovanni = Josep Ribot
Selimo / Un Eunuco Negro / Schiavo
= José Manuel Zapata

Marco Guidarini, conductor






First I took the night bus to Oslo as usual. Luckily my bus was not affected by the bad weather, real snowy conditions that had closed som montain roads. So I came in Oslo in good time for my flight. And then I was in Barcelona after almost 3 hours on the plane. All one had to look forward to was untasty plane food. So bad
that only the cola light and Pringles tasted good. At last, Barcelona airport and my first encounter with the Catalan way of queuing. Very polite and nice queu for taxi. And there were many taxis and many people, and it was quick and polite. So then I was at my hotel. Nice hotel but my room was very cold. Then I went to Placa
Catalunya to get used to going to the centre and to have some nice food (and get my tickets). Then soon it was time to get to the Liceu for a concert version of Verdi´s Corsaro.

The orchestra was onstage. It was chairs and note-stative for the singers. I was on front row. It was a wonderful sung and "acted" Corsaro, Medora was wonderful, Gulnara even more wonderful, & Corrado, the Corsair, Jose Cura was splendid. After a long wait Jose Cura came out at the stage door. He was photographed, and after signing and talking to his fans, at proximo midnight it was truely
over.

Today, Friday 4th, I have been suffering headaches, after my first try out, I had to stop before I came to Placa Catalunya, I stopped at Provinca and sat down at a small cafe, unfortunately It was heavily music'ed. So I had to get to Muntaner and my hotel. After more tablets and eating, and laying in my bed. I was ready to go out again. Placa Catalunya and down la Ramblas to Liceu and down to the harbour (almost) and the up again. At Placa Catalunya I visited Fnac, at Liceu I visited the Shop and then Placido Domingo came, he is singing Parsifal day, and I got one good photo of him, when I came up from the harbour, I was hijacked into a restaurant, ate great ensalada and had a bite of pollo, then back to Muntaner, and
my hotel.

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October 17, 2007: Andrea Chenier in Barcelona

2007-10-17 Andrea Chenier (Giordano),
Gran Teatre del Liceu, Barcelona

Andrea Chenier = José Cura
Carlo Gérard = Carlos Álvarez
Maddalena de Coigny = Deborah Voigt
Bersi = Marina Rodríguez Cusí
Comtessa de Coigny = Viorica Cortez
Madelon = Irina Mishura
Roucher = Miguel Ángel Zapater
Pietro Fléville = Enric Serra
Fouquier Tinville = Enric Serra
Mathieu = Philip Cutlip
L'Increïble = Francisco Vas
El mossèn = Josep Ruiz
Schmidt = Vicenç Esteve Corbacho
Un Majordom = Vicenç Esteve Corbacho
Dumas = Manel Esteve Madrid

Pinchas Steinberg, conductor

Direcció d'escena / Dirección de escena / Stage Director Philippe Arlaud
Escenografia / Escenografía /Set Design Philippe Arlaud
Vestuari / Vestuario / Costume design Andrea Uhmann
Il·luminació / Iluminación / Light Design Philippe Arlaud
Coreografia / Coreógrafo / Choreography Keith Morino
Producció: The New National
Theatre Foundation -Tokio

"Questo azzurro sofà là collochiam."
In this production the Majordomo said blanco (white) instead of azzurro (blue) because in this production almost all were dressed in white, and then some tricolor. In this production Madame la Guillotine was omnipresent and the director heavy-handedly gave us the message of the revolution is eating its own, all acts ended with people onstage being murdered. In this Andrea Chenier there was no doubt that Chenier and Maddalena died along with a lot of people that we had seen alive in other acts, Roucher, Bersi etc. Only children was alive to show the flag and be revolutionary.

Wonderful José Cura as Andrea Chenier! Anna Shafajinskaia had been called to the Opera house to maybe step in for a sick Deb Voigt. That would have been very interesting!! But La Voigt did not feel that ill. I can understand that to sing in Liceu, it would be hard to say another must sing for me today. Deborah Voigt is not my ideal as Maddalena di Coigny. She is acting very well, although I find her portrayal to girlish, (loved Maria Guleghina in the DVD from Bologna), and I find it hard to war up to her voice.

Carlos Alvarez was wonderful as Gerard. Very youthful, and this Gerard was really like
Contessa said:
Quel Gérard! L'ha rovinato il leggere!

This Carlo Gerard was destroyed by the reading of books.

I did not take any photos inside the Liceu. I was too nervous, but the good thing with that is that I could concentrate on applauding. BRAVO!!!!!!!!!!!!!!!!!!!!!!

At the stage door: conductor, Roucher, Voigt, .... No José Cura and I waited a LONG time. But Carlos Alvarez came, but I did not take his photo, I did not take any photos at all in Barcelona. I talked to him. Told him how great I found him in this production and even mentioned how much I liked his Macbeth in the DVD with Maria Guleghina. WOW, Carlos Alvarez!!!!! I talked...
.. but no photos.

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My original blog post

July 31, 2009: Turandot in Barcelona

2009-07-31 Turandot (Puccini), Gran Teatre del Liceu, Barcelona

Turandot = Anna Shafajinskaia
Liu = Daniela Dessi
Calaf = Fabio Armiliato
Timur = Giorgio Giuseppini
Ping = Gabriel Bermúndez
Pang = Eduardo Santamaría
Pong = Vincenc Esteve Madrid
Althoum = Josep Ruiz
Mandarin = Philip Cutlip

Giuliano Carella, conductor

I hoped that this time it would not end with suicide. But this Turandot died too like on July 30th.

Still, it was another Turandot. First the performance did not start until 30 minutes later. That was because Daniela Dessi was not well but she still came. It was not possible to hear that she was not well except that she was singing softer in 3rd act and the orchestra was gentle with her. But for normal ears all was well. Not just well but splendid. And her husband-tenor Fabio Armiliato was a great Calaf. Giorgio Giuseppini was great as Timur.

Anna Shafajinskaia was Turandot. I almost thought that she had been replaced by Maria Guleghina. But Anna did not have Maria's specialties. Anna S. was in a more steely voice which was perfect for Turandot. But after Maria Guleghina's Turandot it was not enough for me even if singing and acting was more than perfect. But with Guleghina there is an extra tension, personality and charisma.

The main thing, the duet between Calaf/Turandot was acted so differently that I really hoped to the last that Turandot would choose life. But no Happy Ending. Great opera performance, but ...

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Original blog post: Turandot in Barcelona July 2009


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July 30, 2009: Turandot in Barcelona

2009-07-30 Turandot (Puccini), Gran Teatre del Liceu, Barcelona

Turandot = Maria Guleghina
Liu = Ainhoa Arteta
Calaf = Marco Berti
Timur = Stefano Palatchi
Ping = Gabriel Bermúndez
Pang = Eduardo Santamaría
Pong = Vincenc Esteve Madrid
Althoum = Josep Ruiz
Mandarin = Philip Cutlip

Giuliano Carella, conductor

It ends with a suicide.

First I thought the whole opera ended with Liu's death. Then came a curtain of the sky filled with stars in the night. A wonderful duet started. And Turandot killed herself after "I know his name. His name is LOVE". And Turandot killed herself because he was Love, and she was Death. A night filled with horror had drowned her white dress with the blood of inhabitants of the city. Nessun dorma, he sang dreamily of glory and love, not caring that his nobody shall sleep would mean torture and death to others. Calaf only cared when his own father and Liu was threatened. And Turandot herself: fascinated by Calaf and by the sacrificial love of Liu, but in the end not willing/capable to step out of her death cult and into becoming a loving woman.

Vocally it was never any doubt about Marco Berti's Calaf. A clarion voice with both Non piangere, Liu and Nessun dorma with the closest to perfection I ever heard live. He was no tempted to hold the last tone in Nessun dorma as long as possible I am certain he would have won that contest. But it is opera and no contest. Ainhoa Arteta was wonderful as Liu. Stefano Palatchi as Timur was not so demanding a voice as he should. But acted wonderfully. Ping, Pang and Pong was Ok when one got over the costumes in the act 1 and start of act 2. Ping was Gabriel Bermundez who sang Silvio in Zurich on July 8. Sadly he was often the weak link. But in the 3rd act he was wonderful.

Maria Guleghina as Turandot, what can I say about her. She is definitely more of a Tosca than a Turandot. But maybe it was the production and director's fault. I wonder how it had been had Guleghina been able/allowed to put all her energy and acting skills in the role. She was best vocally and all when she could step free from the robotic Chinese choreography.

But other than that, I liked the production and the choreography (of the dancers).

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Original blog post: Turandot in Barcelona July 2009

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July 20, 2015: Carmen in Barcelona

2015-07-20 Carmen (Bizet), Palau de la Música Catalana (Barcelona)

Carmen = Marta Valero
Don Jose = Sergi Giménez
Micaela = Elvira Galo
Escamillo = Alberto Cazes Spinoglio
Frasquita = Sara Banares or Itziar Espinar
Mercedes = Carla Mattioli
Dancaire = Xavier Aquilar
Rememdado = Jorge Jasso
Zuniga = Nestor Pintado

Orquestra Terrassa 48
Xavier Puig, conductor

Jesús Fernández, stage direction

Yasmina Pulido, choreograph

It was not the very different version of Carmen, it just had more cuts in the score. It was Carmen with orchestra on the stage with the stage area used to showcase Carmen as opera as opposed to just a concert. It had seemed to me that this was to be Carmen as 2 hrs continuous play. In that case the opera would have had serious cuts. In stead it was act 1+2 in 2 hrs and the rest as 30 minutes. We had real Flamenco dancers that danced to Bizets music. Carmen, Don Jose, Micaela, Escamillo, Mercedes, Franquita, Dancaire and Remendado was all there and Zuniga was there, too.

It was beautiful and realistic staged.

It started 2030 and ended 2310. It was as lovely as it could be, but no revolutionary vision.

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Original blog post

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June 16, 2000: Sly in Barcelona

2000-06-16 Sly (E. Wolff-Ferrari), Gran Teatre de Liceu (Barcelona)

Sly = Josep Carreras
Dolly = Isabelle Kabatu
Westmoreland = Sherill Milnes
John Plake = Alessandro Guerzoni
The Hostess = Mireia Pinto

David Gimenez, conductor

What a great performance! Carreras had his son Alberto, daughter Julia, brother Alberto and Patricia in the audience. And his nephew, David Giménez was conducting Sly (as on the 13). And Marion and I chose different doors to wait for our start JOSEP. Some Carreras- fans was already waiting. And I saw them all, son, daughter, brother, Patricia, but not Giménez he went on the front of Liceu, I was on the sideway.

OD Travel

June 13, 2000: Sly in Barcelona

2000-06-13 Sly (E. Wolff-Ferrari), Gran Teatre de Liceu (Barcelona)

Sly = Josep Carreras
Dolly = Isabelle Kabatu
Westmoreland = Sherill Milnes
John Plake = Alessandro Guerzoni
The Hostess = Mireia Pinto

David Gimenez, conductor



It was the first time for me in his operahouse, Gran Teatre del Liceu. It was wonderful. Josep Carreras was great. Isabella Kabatu was a wonderful Dolly. Sherill Milnes was the Count, I liked Juan Pons much better in that role. Guerzoni was a sympathic and good-looking John Plake, good voice, but Carlos Chausson (Zurich) was greater. Mirea Pinto was the hostess, weak voice and that lack of that stage presence that made Stefania Kaluza so memorable in Zurich. I sat close to the stage and took no photos.

On June 13 and 16 I went to the Liceu to see this opera with José Carreras as Sly. Twice for really getting into this opera. Dig deeper... The same production as in Zurich, but another conductor, and the rest of singers except Carreras was the same. David Gimenez, the conductor, gave more beauty to the opera, a more subtle way of conducting. Isabelle Kabatu as Dolly was great, warner than Daniela Dessi. I had seen Kabatu earlier as Dolly in Zurich 2000 (May 17th) and that told me that Barcelona Zurich was worth seeing twice. Josep Carreras was even better, and June 16 was the best performance. Sherrill Milnes was not as great as Juan Pons as Westmoreland. Only David Gimenez, Isabelle Kabatu and Josep Carreras was better than Zurich 1998.

OD Travel

May 1, 2014: Carmen in Barcelona

2014-05-01 Carmen (Bizet), Barcelona

CARMEN - Ana Ferro
DON JOSÉ - Sergi Giménez
MICAELA - Cristiana Oliveira
ESCAMILLO - Nuno de Araujo Pereira
FRASQUITA - Anna B. Gómez
MERCEDES- Carla Mattioli


Piano - Montse Pujol Dahme

A great opera erlebnis in an Opera Salon

Sitting just a few feet from the opera singers this was intense. On sofas and chair in a living room with a piano we sat. The prelude and entr'acte was played on speakers. Then the pianist starts the live opera or maybe we should call it lived opera. The space was used for optimal operatic tension. The staircase was used theatrically and so was other rooms used as backstage. One of the best Carmen performances and in such a limited space! Amazing!!!


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Original blog post

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April 28, 2013: Viva Verdi concert in Barcelona

2013-04-28 Viva Verdi, Teatre Tivoli (Barcelona)

Michelle-Marie Francis Cook, soprano
Sergi Giménez Carreras, tenor
Alberto Cazes Spinoglio, baritone

Miguel Ángel Martínez Montés, conductor
Coral Càrmina & Orquesta Sinfónica del Vallés

Wonderful Barcelona! Were I not Facebook friend of Sergi Gimenez Carreras then I would have stayed in Nice/Monte-Carlo because I would not have known about this wonderful Verdi concert. Sergi is a tenor just like his uncle, Josep Carreras. He has his own sound and just like Carreras when Sergi sings there is an emotional impact. Tears was in my eyes when he sang La mia letizia infondere from I Lombardi. Rolando Villazon had sung it well in Frankfurt (25/4) but Sergi won my heart and ears. It was the dramatic Verdi that was in the programme where I felt that my tenor was more lyric. Sergi was totally involved in all his arias, duets and tersetts.
Sergi Gimenez Carreras was flanked with the supreme soprano Michelle-Marie Cook and baritone Alberto Cazes Spignolo. The soprano was powerful in all appearances. She sang so wonderful that I have difficult to find words. Here we heard a soprano of world class, powerful voice, deep dramatic insight, simply a joy to hear and see. How I want to see her in full opera production of Ernani, La Forza del Destino, Un Ballo in Maschera, or in short any opera by Verdi that have a soprano part.

The baritone sang the famous Verdi baritone arias and did it well. Perhaps I am not a baritone person.

Bravi, tutti!! And come to Norway, please!

The concert had no pause and I sat in the front seat. The best seat. But although it had the shortest distance to the singers, voices are often heard better further back in the theater. So my dear Sergi when I listen to the videos from this concert you sound much stronger, much better. BRAVO, Sergi!!


Miguel Ángel Martínez Montés, conductor
Coral Càrmina & Orquesta Sinfónica del Vallés

Obertura (La forza del Destino)

“La mia letizia infondere” (I Lombardi) - Sergi Giménez Carreras

“Ernani involami” (Ernani) – Michelle-Marie Francis Cook

“O Carlo, ascolta” (Don Carlo) – Alberto Cazes Spinoglio

“Patria opressa”(Macbeth) - Coro

“O fede negar potessi - Quando le sere al placido” (Luisa Miller) - Sergi Giménez Carreras

"Tu se Ernani" (Ernani) - Michelle-Marie Francis Cook, Sergi Giménez Carreras y Alberto Cazes Spinoglio

“Va pensiero” (Nabucco) – Coro

“Dio, che nell’alma infondere” (Don Carlo) - Sergi Giménez Carreras & Alberto Cazes Spinoglio

Coro de Gitanas y toreros (La traviata) – Coro

“Pace, pace mio Dio” (La forza del Destino) - Michelle-Marie Francis Cook

“Eri tu” (Un ballo in maschera) - Alberto Cazes Spinoglio

“Vedi! le fosche notturne” (Il trovatore) – Coro

“Tace la notte!” (Il trovatore) - Michelle-Marie Francis Cook, Sergi Giménez Carreras y Alberto Cazes Spinoglio

EXTRA
Brindisi LA TRAVIATA Cook, Gimenez, Cazes
Va, pensiero NABUCCO Cook, Gimenz, Cazes

Dirección Mtro. Miguel Ángel Martínez Montés | Producción Barmont Productions SC | Solistas Michelle-Marie Francis Cook (soprano), Sergi Giménez Carreras (tenor), Alberto Cazes Spinoglio (barítono)

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Original blog post 1 & 2

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April 17, 2011: Pagliacci in Barcelona

2011-04-17 Pagliacci (Leoncavallo),Gran Teatre de Liceu (Barcelona)

Canio (Pagliaccio) = José Cura
Nedda (Colombina) = Inva Mula
Tonio (Taddeo) = George Gagnidze
Beppe (Arlecchino) = David Alegret
Silvio = Jean Luc Ballestra
Erster Bauer = Xavier Comorera
Zweiter Bauer = Joan Prados

Daniele Callegari, conductor

Stage director - Liliana Cavani
Set designer - Dante Ferretti
Costume designer - Gabriella Pescucci
Light designer - Gianni Mantovanini
Coproduction -Teatro Comunale di Bologna / Teatro Vincenzo Bellini di Catania

Pagliacci - perfect production. I loved how the audience as the play grew more violent would take their children away protect them from the violence. I loved that. Inva Mula was Nedda and José Cura was Canio. Canio seemed less violent and more loving to his wife, Nedda was almost sympathetic. José Cura was a wonderful Canio and sang a marvellous Vesti la giubba. I loved it all.

Barcelona, the better experience (original blog post)

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April 17, 2011: Cavalleria Rusticana in Barcelona

2011-04-17 Cavalleria Rusticana (Mascagni),Gran Teatre de Liceu (Barcelona)

Santuzza = Luciana d'Intino
Turiddu = José Cura
Alfio = George Gagnidze
Mamma Lucia = Josephine Barstow
Lola = Ginger Costa-Jackson

Daniele Callegari, conductor

Stage director - Liliana Cavani
Set designer - Dante Ferretti
Costume designer - Gabriella Pescucci
Light designer - Gianni Mantovanini
Coproduction -Teatro Comunale di Bologna / Teatro Vincenzo Bellini di Catania


Luciana D'Intino did not overplay the role of Santuzza. The only thing I did not like was her "A te, un mala Pasqua", but that is minor. She was perfect as Santuzza. Josephine Barstow gave e refine portrayal of Mamma Lucia. José Cura was a wonderful Turriddu, no drunkenn lout this time but certainly not a intirely sympathetic man. Alfio and Lola was also good. In this production of Cavalleria Rusticana there was an emphasis on that this is a village where nothing is secret for a long time. The villagers sees everything, hears everything behind their curtains. Somebody is always listening. Lola was dressed in white as she went to church. She did not go alone, another woman was with her all dressed in black. The duet between Turriddu and Santuzza showed that Turriddu still have some love for Santuzza. He was not so violent as in most productions. In the end of Cavalleria Rusticana was the ugliest cry of "Hanno mazzato compare Turriddu" which was a shame and a blemish on an otherwise wonderful and sweet production of Cavalleria Rusticana.




Barcelona, the better experience (original blog post)
OD Travel


For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com