| Montag 05 Juli 2027 | 19:30 |
| Dienstag 06 Juli 2027 | 19:30 |
| Mittwoch 07 Juli 2027 | 19:30 |
| Donnerstag 08 Juli 2027 | 19:30 |
| Mittwoch 14 Juli 2027 | 19:30 |
| Sonntag 18 Juli 2027 | 17:00 |
| Montag 19 Juli 2027 | 19:30 |
| Dienstag 20 Juli 2027 | 19:30 |
| Mittwoch 21 Juli 2027 | 19:30 |
| Freitag 23 Juli 2027 | 19:30 |
| Mozart, Wolfgang Amadeus (1756-1791) | Die Zauberflöte | Libretto von Emanuel Schikaneder |
| Gran Teatre del Liceu | |||
| Josep Pons | Musikalische Leitung | ||
| Marcos Morau | Regie | ||
| Max Glaenzel | Bühnenbild | ||
| Silvia Delagneau | Kostüme | ||
| Bernat Jansa | Licht | ||
| Orquesta Sinfónica del Gran Teatre del Liceu | |||
| Coro del Gran Teatre del Liceu | |||
| Roberto Fratini | Dramaturgie | ||
| La Veronal | |||
| Pablo Assante | Chorleitung | ||
| Jack Swanson | Tenor | Tamino | 2027 Jul 05, 07, 14, 19, 21, 24, 26, 29 |
| Ben Bliss | Tenor | Tamino | 2027 Jul 06, 08, 18, 20, 23, 25, 28 |
| Sara Blanch | Sopran | Pamina | 2027 Jul 05, 07, 14, 19, 21, 24, 26, 29 |
| Chelsea Zurflüh | Sopran | Pamina | 2027 Jul 06, 08, 18, 20, 23, 25, 28 |
| Serena Sáenz | Sopran | Königin der Nacht | 2027 Jul 05, 07, 14, 19, 21, 24, 26, 29 |
| Alina Wunderlin | Sopran | Königin der Nacht | 2027 Jul 06, 08, 18, 20, 23, 25, 28 |
| Carles Pachón | Bariton | Papageno | 2027 Jul 05, 07, 14, 19, 21, 24, 26, 29 |
| Jan Antem | Bassbariton | Papageno | 2027 Jul 06, 08, 18, 20, 23, 25, 28 |
| John Relyea | Bassbariton | Sarastro | 2027 Jul 05, 07, 14, 19, 21, 24, 26, 29 |
| Alex Rosen | Bass | Sarastro | 2027 Jul 06, 08, 18, 20, 23, 25, 28 |
| Patricia Calvache | Sopran | Erste Dame | |
| Gemma Coma-Alabert | Mezzosopran | Zweite Dame | |
| Ana Victória Pitts | Mezzosopran | Dritte Dame | |
| Albert Dohmen | Bassbariton | Sprecher | |
| Lucía Iglesias | Sopran | Papagena | |
| Jorge Rodríguez-Norton | Tenor | Monostatos | 2027 Jul 05, 07, 14, 19, 21, 24, 26, 29 |
| Pablo García-López | Tenor | Monostatos | 2027 Jul 06, 08, 18, 20, 23, 25, 28 |
| Albert Casals | Tenor | Erster Priester, Erster Geharnischter | |
| Jeroboám Tejera | Bass | Zweiter Priester, Zweiter Geharnischter |
In this new production by Marcos Morau, choreographer and founder of La Veronal, and with Josep Pons, in his new role as honorary music director, at the helm of the orchestra of the Liceu, The Magic Flute is presented as an exceptional event: a stage utopia in which music and image intertwine to build a bridge between opposing worlds.
The wonder of Wolfgang Amadeus Mozart is much more than an initiatory tale dressed in fantasy. Among enchanted animals and ritual trials unfolds a symbolic universe in which the sacred and the profane coexist, confront each other and transform. The journey of Tamino and Pamina is a spiritual crossing: they overcome fears, silences and mirages to reach a form of knowledge that illuminates from within. In Sarastro’s solar temple, reason, wisdom and fraternity stand as ideals that order and liberate; each step of the ritual is a metaphor for the ascent of the soul from darkness toward discernment.
But no light exists without shadow. The Queen of the Night embodies the wounded force that becomes a storm, an ancient power transformed into vengeance. Her aria —as fascinating as it is abyssal— is a sacrilegious act: the order to kill in the name of filial love, where female authority ceases to protect and becomes destructive.
With his visionary music, Mozart turns this opera into a true secular liturgy. Even Papageno, with his radiant innocence, participates in this tension between desire and discipline, play and faith.
In the choreographic vision of Marcos Morau, the tale is reborn as an adult narrative that reminds us that the path of light always crosses shadow; that knowledge is never inherited, but conquered. And with the inspiring direction of Josep Pons, The Magic Flute culminates in an apotheosis of redemption: what seemed caricature becomes symbol, and what seemed magic is revealed as inner truth.

