| Thursday 30 June 2022 | 19:00 |
| Friday 01 July 2022 | 19:00 |
| Saturday 02 July 2022 | 18:00 |
| Mozart, Wolfgang Amadeus (1756-1791) | Die Zauberflöte (The Magic Flute) | Libretto by Emanuel Schikaneder |
| Gran Teatre del Liceu | |||
| Paolo Bortolameolli | Conductor | Jun 27, Jul 01 | |
| Gustavo Dudamel | Conductor | ||
| Sir David McVicar | Director | ||
| John Macfarlane | Set Designer, Costume Designer | ||
| Paule Constable | Lighting Designer | ||
| Orquesta Sinfónica del Gran Teatre del Liceu | |||
| Coro del Gran Teatre del Liceu | |||
| Jean Kalman | Lighting Designer | ||
| Angelo Smimmo | Revival Director | ||
| Javier Camarena | Tenor | Tamino | Jun 20, 22, 26, 27, Jul 01 |
| Julien Behr | Tenor | Tamino | Jun 21, 25, 28, 30, Jul 02 |
| Lucy Crowe | Soprano | Pamina | Jun 20, 22, 26, 27, Jul 01 |
| Nuria Rial | Soprano | Pamina | Jun 21, 25, 28, 30, Jul 02 |
| Kathryn Lewek | Soprano | Queen of the Night | Jun 20, 22, 26, 27, Jul 01 |
| Sara Blanch | Soprano | Queen of the Night | Jun 21, 25, 28, 30, Jul 02 |
| Thomas Oliemans | Baritone | Papageno | Jun 20, 22, 26, 27, Jul 01 |
| Joan Martín-Royo | Bass | Papageno | Jun 21, 25, 28, 30, Jul 02 |
| Stephen Milling | Bass | Sarastro | Jun 20, 22, 26, 27, Jul 01 |
| John Relyea | Bass-baritone | Sarastro | Jun 21, 25, 28, 30, Jul 02 |
| David Lagares | Baritone, Bass | Second Armoured Man, Second Priest | |
| Berna Perles | Soprano | First Lady | |
| Gemma Coma-Alabert | Mezzo-soprano | Second Lady | |
| Marta Infante | Mezzo-soprano | Third Lady | |
| Matthias Goerne | Baritone | The Speaker (Der Sprecher) | |
| Serena Sáenz | Soprano | Papagena | |
| Roger Padullés | Tenor | Monostatos | |
| Albert Casals | Tenor | First Priest | |
| Conxita Garcia | Choirmaster / chorus director |
Production: Royal Opera House
A children’s story for some, a profound meditation on life and death for others, Mozart’s opera is a referential work, but it is also a medium where the composer expressed his deep spiritual beliefs. Thus, in this work he brings together the main concerns of the Enlightenment and the 18th century: education, morality, religion, culture, nature...
If there is one production that has marked a generation of European spectators, it is undoubtedly this one, by director David McVicar. Its spectacular nature transports us to a fantastic world of dancing animals, flying machines and starry skies. A fascinating setting to host, in a manner both humorous and stern, the fantastic story of the quest of Prince Tamino and his beloved Pamina, with two antagonistic powers in contention: Sarastro (light and truth) and the Queen of the Night (darkness and deception). The production reveals the enigmas of a score encompassing the entire universe. An immediate success since its premiere, at the heart of this charming tale there is a defiled paradise of wisdom, knowledge, constancy of universal values and virtue that needs to be rebalanced.
The presence of Gustavo Dudamel in the highly anticipated debut of this opera will highlight a work full of contradictory binomials: day/night, male/female, rationality/superstition or emotion/logic, drawing us into the infinite details of this colossal kaleidoscopic score, making these sessions historic. On this occasion, the grand final solo represents the triumph of truth over abuse.
