One of the great operatic dramas exploring the depths of human solitude is making its return to Barcelona. Amilcare Ponchielli’s La Gioconda opens at the Gran Teatre del Liceu this February. This production marks the latest chapter in a history spanning more than 150 performances at the venue since 1883.
This new run follows the theatre’s 2019 revival of Pier Luigi Pizzi’s production. Meanwhile, the current season introduces a fresh co-production between the Liceu and Naples’ Teatro di San Carlo. Directed by Frenchman Romain Gilbert, the production first premiered in Italy in 2024 with a cast featuring Anna Netrebko and Jonas Kaufmann.
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In Barcelona, the demanding lead roles will be taken on by Madrilenian soprano Saioa Hernández and American tenor Michael Fabiano. Therefore, the production runs for ten performances from 17 February to 2 March. An exclusive preview for audiences under 35 will take place on 16 February.
A Darker Shade of Venice
The opera is set against the backdrop of a gloomy 17th-century Venice. This setting is far removed from the romantic imagery of tourist postcards. It is a city dominated by spies of the Inquisition. The sinister character Barnaba epitomises this, driving the narrative’s web of misfortune, extortion, and unrequited love.
Romain Gilbert’s staging respects the historical setting of Arrigo Boito’s libretto. However, it emphasises the stark contrast between light and shadow. “We have created a kind of painting with two levels: the architecture on the upper level, and the gloomier part, full of mud, on the lower level,” Gilbert explains.
The director deliberately avoided modernising the setting. “The Venetians spent six months praying to be forgiven for the excesses committed during Carnival,” he notes. This references the specific time of year both in the opera’s plot and the current performance dates. “I did not consider disconnecting it from Venice or bringing it to the present day.”
A Vocal Marathon
For Saioa Hernández, the title role is a formidable challenge. “It is one of the most demanding roles for the dramatic soprano voice,” she admits. However, it is also a cherished one. She cites La Gioconda as her favourite opera alongside Macbeth. This production marks her sixth time performing the role. It requires careful pacing to ensure she arrives with full power for the fourth act’s stellar aria, ‘Suicidio!’.
Leading the musical forces is Israeli conductor Daniel Oren. He returns to the Liceu seven years after conducting a concert version of Hamlet. He describes the opera as a “great musical marathon” filled with dense instrumentation. It also contains moments of magic, such as the famous ‘Dance of the Hours’.
Oren has been effusive in his praise for the Liceu Orchestra. He notes substantial improvements under the tenure of Josep Pons. “In seven years it has taken a giant step… with young musicians who were not there before,” Oren observed. His approach to the score is singer-focused. He aims to “lay out a red carpet” so the voices can shine without being overwhelmed by the large orchestra and choir.
World-Class Casts
To sustain the intensity of Ponchielli’s four acts, the Liceu has assembled two robust casts. Alongside Hernández and Fabiano in the first cast are Italian baritone Gabriele Viviani as the villain Barnaba. Canadian bass John Relyea plays Alvise, and Uzbek mezzo-soprano Ksenia Dudnikova plays Laura.
Notably, the role of La Cieca (Gioconda’s mother) will be sung by Lithuanian soprano Violeta Urmana. She holds the rare distinction of having performed all three major female roles in this opera during her career. She first performed Gioconda, then Laura, and now La Cieca.
The second cast is equally distinguished. It features Belarusian soprano Ekaterina Semenchuk in the title role. She is accompanied by Martin Muehle (Enzo), Àngel Òdena (Barnaba), Alexander Köpeczi (Alvise), and Varduhi Abrahamyan (Laura). With such depth of talent, the return of La Gioconda promises to be a highlight of Barcelona’s cultural calendar this season.
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