The Gran Teatre del Liceu on La Rambla has unveiled its ambitious new production of Amilcare Ponchielli’s grand opera, La Gioconda, a visually rich staging anchored by a powerhouse performance from soprano Saioa Hernández. On opening night, Hernández’s portrayal of the titular street singer earned her a sustained ten-minute ovation, cementing her as the cornerstone of a production that blends lavish aesthetics with dark, passionate drama.
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Conducted by the seasoned Daniel Oren and directed by the young French musicologist and singer Romain Gilbert, this new version of La Gioconda transports the audience to a 17th-century Venice that is both splendid and sinister. The opera, based on a Victor Hugo play, unfolds a tragic tale of love, betrayal, and vengeance, driven by the menacing Inquisition spy Barnaba. This co-production with Naples’ prestigious Teatro di San Carlo brings a fresh, if controversial, vision to the Liceu stage.
A Flawless Staging with Sumptuous Detail
Gilbert’s direction presents a Venice of striking contrasts. The scenes shift from a bustling city square to a gondola gliding through dark canals, and finally to a palatial interior destined for destruction. According to a review in La Vanguardia, the staging was visually flawless but at times lacked raw scenic force. The production is a feast for the eyes, however, featuring sumptuous costumes designed by the legendary Christian Lacroix and even incorporating circus elements and a burning gondola to heighten the spectacle.
A centerpiece of La Gioconda is its famous ballet, the “Dance of the Hours.” The sequence was delivered with technical skill, though the same review noted a minor wardrobe malfunction with the ballerinas’ bodices, a reminder that high fashion doesn’t always translate perfectly to the physical demands of dance.
A Star Turn and a Veteran’s Return
While the production itself made an impression, the night belonged to the cast, led by Madrid-born soprano Saioa Hernández. She masterfully navigated the technically and emotionally demanding role of Gioconda, culminating in a breathtaking performance of the famous aria “Suicidio!” that left the audience, reportedly at 85% capacity, emotionally spent but deeply appreciative.
The supporting cast also featured notable performances. Baritone Gabriele Viviani portrayed the villain Barnaba as a formidable, if somewhat one-dimensional, monster, particularly in his aria “O monumento!” The celebrated Lithuanian mezzo-soprano Violeta Urmana made an emotional return to the Liceu as La Cieca, Gioconda’s blind mother, a performance that was warmly received. American tenor Michael Fabiano, as Gioconda’s love interest Enzo, was reported to be in improved vocal form, though still finding challenges in the role’s highest notes, while Ksenia Dudnikova sang the part of his former lover, Laura.
The Liceu’s Ambitious Vision
This grand production of La Gioconda appears to be part of a deliberate strategy by the Liceu to surprise and challenge its audience. The theatre has recently moved away from relying solely on classic stagings of repertory staples, aiming instead for more provocative and memorable artistic statements. The lukewarm ticket sales for a traditional production of L’elisir d’amore in December stands in contrast to the buzz surrounding this more spectacular and daring venture.
By investing in a production with a star soprano, high-fashion costumes, and dramatic flair, the Liceu is cultivating a reputation for must-see events, sparking a conversation with its patrons about the future of opera. The presence of Annamaria Di Giorgio, director of the Italian Cultural Institute, and Mirko Scaletti, president of the Casa degli Italiani, underscored the significance of this Italo-Catalan collaboration and the enduring power of grand opera to captivate a modern audience.
