| Gran Teatre del Liceu | |||
| Dmitri Jurowski | Direction | ||
| Gilbert Deflo | Mise en scène | ||
| William Orlandi | Décors, Costumes | ||
| Albert Faura | Lumières | ||
| Orquesta Sinfónica del Gran Teatre del Liceu | |||
| Veus - Cor Infantil Amics de la Unió | |||
| Coro del Gran Teatre del Liceu | |||
| Pablo Assante | Chef de chœur | ||
| Yusif Eyvazov | Ténor | Herman | 2022 janv. 26, févr. 01, 02, 05, 08, 10 |
| George Oniani | Ténor | Herman | 2022 janv. 27, févr. 01, 04, 06, 11 |
| Lianna Haroutounian | Soprano | Lisa | 2022 janv. 26, févr. 01, 05, 08, 11 |
| Irina Churilova | Soprano | Lisa | 2022 janv. 27, févr. 02, 04, 06, 10 |
| Elena Zaremba | Mezzo-soprano | La Comtesse | 2022 janv. 26, févr. 01, 05, 08, 11 |
| Larissa Diadkova | Mezzo-soprano | La Comtesse | 2022 janv. 27, févr. 02, 04, 06, 10 |
| Lena Belkina | Mezzo-soprano | Polina | 2022 janv. 26, févr. 01, 04, 06, 08, 10, 11 |
| Christina Faus | Contralto | Polina | 2022 janv. 27, févr. 02, 05 |
| Łukasz Goliński | Baryton | Tomsky | 2022 janv. 26, févr. 01, 05, 08, 11 |
| Gevorg Hakobyan | Baryton | Tomsky | 2022 janv. 27, févr. 02, 04, 06, 10 |
| Rodion Pogossov | Baryton | Yeletsky | 2022 janv. 26, févr. 01, 05, 08, 11 |
| Andrey Zhilikhovsky | Baryton | Yeletsky | 2022 janv. 27, févr. 02, 04, 06, 10 |
| Antonio Lozano | Ténor | Chaplitsky | |
| Ivo Stanchev | Basse | Sourine | |
| David Alegret | Ténor | Tchekalinski | |
| Gemma Coma-Alabert | Mezzo-soprano | Macha | |
| Mireia Pintó | Mezzo-soprano | La gouvernante |
Production: Gran Teatre del Liceu
Thanks to his brother Modest's libretto, based on a free adaptation of a tale by Pushkin, P. I. Tchaikovsky was able to respond in just 44 days to a commission from the Russian Imperial Theatres and Pikovaya Dama was born.
For the young Herman, paradise consists of rising in society and gambling. He accordingly sacrifices his love for Lisa to his obsession with finding a magic formula for winning at cards which is in the possession of an old countess. After driving Lisa to suicide, Herman himself dies, deceived by the Countess's ghost.
The tragedy of this complex Romantic hero, haunted by his passion for gambling and driven by fate to the loss of his lover and to crime and death, is counterpointed by elements from the world of dreams and the supernatural.
Gilbert Deflo's opulent production transports us to a far-off age and underscores the composer's own scathing portrait of society, for beneath the amiable appearance of the Russia of Catherine the Great, a lost generation lies hidden. Tchaikovsky's score evokes the court, streets and river banks of Saint Petersburg through the deliberate recreation of 18th century musical forms and allusions to popular and religious music but never sacrifices his characteristically fervent lyricism. The Queen of Spades ranks alongside Eugene Onegin as his greatest contribution to the world of opera.