The contractor Xavier Sabata and the soprano Julie Fuchs lead the distribution of Georg Friedrich Händel opera, ‘Giulio Cesare’, with a modern scenic proposal of Calixto Bieitothat places the action in the world of today’s new rich obsessed with luxury and appearances. Since the 1981-82 season, with the fabulous Montserrat Caballé, this Baroque title had not returned to the Colosseum. This new version will be different from all the above Not only for the staging but for the musical quality. For the first time the Liceu Orchestra will perform the work with period instruments -original or copies- directed by the teacher William Christiea ‘crack’ of baroque music. “The orchestra today touches so well or better than many of the great baroque orchestras of the United States or Europe. We are facing the birth of a new orchestra, the baroque orchestra of the Liceu, an impressive milestone “the teacher has highlighted.
As of this Sunday until June 7the Liceu will host Six functions Of this title, a story of love, ambition and power where the leading characters ambition the total domain of Egypt. The scenography of Rebecca Ringst He has concomitance with that ephemeral Pavilion of Saudi Arabia in the Universal Dubai exhibition of 2020 on whose inclined facade highlighted a huge screen. The action takes place in a kind of “invented space, with digital dreams, in a desert paradise,” he explained Astrid van den Akke. She is responsible for replenishing in Barcelona this Co -production of the Liceu with the Dutch National Operareleased in Amsterdam in 2023.
The contractor Xavier Sabata and the soprano Julie Fuchs lead the distribution of the Opera of Georg Friedrich Händel, ‘Giulio Cesare’. / David Ruano
In this proposal by Bieito, Julio César and Cleopatra live in a world surrounded by luxury but also of “Violence, love, sadism and corruption.” Play a lot with projections. All characters enter and leave a “fantasy world, where many videos are projected.”
For Fuchs and Sabata, which last year offered in the Liceu ‘L’Ambraronzion di Poppea’, with a surprising and acclaimed proposal of Bieito, returning to the Liceu with this role is a gift. “I enjoy the music that has seven very different Arias that allows me to use all the colors of my voice,” said that powerful queen of Egypt “Powerful, intelligent, with political skills and diplomatic relations, which spoke nine languages.” However, asked about her current equivalent, she replies: “I do not see many women in politics like Cleopatra. In our time, very intelligent people do not get into politics. I imagine Cleopatra today as Beyoncé, a woman with a great ability to seduction who knows how to use her image,” said Fuchs.
From this Sunday until June 7, the Liceu will host six functions of this title, a story of love, ambition and power where the leading characters ambition the total domain of Egypt. / David Ruano
Sabata highlights the irony that Bieito uses to highlight “the void behind all the opulence and presents the heroic characters in a much more fragile and human way.” Händel’s music reflects all that great humanity and contradictions of the characters. “Händel is one of the best composers when it comes to capturing, through feelings and emotions, to The women who suffer“Christie said.
Sabata and Fuchs are understood with just looking, their connection is huge. “There is a personal chemistry among us, it is magical”the contractor has assured. The lack of egolatry and generosity between the two is key in that sense, she pointed out. They complete the cast Teresa Iervolino (Cornelia), the mezzoosoprano Helen Charlston (Sesto), the contractor Cameron Shahbazi (Tolleo), Baritone JOSÉ ANTONIO LÓPEZ (Achilla), Jan Prem (Curio) and Alberto Miguélez Rouco (Nireno).
Rebecca Ringst’s scenery has concomitance with that ephemeral Pavilion of Saudi Arabia in the Universal Dubai exhibition of 2020 on whose inclined facade highlighted a huge screen. / David Ruano
Original sound
Convert the Liceu Great Teatre Orchestra In a great baroque instrument it has been exciting for the veteran American musical director with French nationality. He has been based in France for a long time and is a reference in the interpretation of ancient music. Christie has confessed that “the miracle” of converting the Liceu orchestra into a baroque formation has occurred faster than I imagined thanks to the predisposition and talent of the musicians, whom he has praised.
This opera, released in London in 1724, has not been too represented in the Liceu. On this occasion music will sound like never before, because until now it had not been interpreted according to the historicist criteria with instruments that will faithfully reproduce The original 18th century sound. “Händel played half a tone below that modern tuning and The instruments have thus refined, downwards“. That, without a doubt, will go in favor of singers. But beyond different materials such as gut strings, Christie concludes:” The most important thing is not only the instrument but the interpreter’s mentality. A modern violinist touches good baroque music when he understands that this music is a different repertoire, which is touched in a different way. It requires a lot of study. “
