Organization

Lumières

Lumières (+2)

Urs Schönebaum

Chorégraphie

Chorégraphie (+1)

Iratxe Ansa

Direction d'orchestre

Direction d'orchestre (+1)

Maurizio Benini

Mise en scène

Barbara Lluch

Décors

Décors (+2)

Christof Hetzer

Costumes

Clara Peluffo

Chef de chœur

Andrés Máspero

Baryton (+4)

Isaac Galán

Alessio

Ténor (+3)

Gerardo López

Un notaire

Gran Teatre del Liceu

Teatro Real de Madrid

Teatro Massimo di Palermo

New National Theatre Tokyo

Chorus

Coro Intermezzo

Orchestra

Orquesta Sinfónica de Madrid

Teatro Real

Basse (+2)

Roberto Tagliavini

Le comte Rodolfo

Soprano (+3)

Rocío Pérez

Lisa

Soprano (+2)

Nadine Sierra

Amina

Mezzo-soprano (+4)

Monica Bacelli

Teresa

Soprano (+1)

Serena Sáenz

Jessica Pratt

Mezzo-soprano (+3)

Gemma Coma-Alabert

Ténor (+1)

Xabier Anduaga

Elvino

Baryton-basse (+2)

Fernando Radó

Francesco Demuro

Lawrence Brownlee

Long before verismo exploited the theme of female infidelity from realistic charged with testosterone –and prone to the display of booming tenor highs–, Bellini approached what was then a thorny taboo with a care and an almost dramatic and vocal delicacy. oneiric. Set in the Swiss Alps, this semi-serious opera confronts the people of these idyllic lands – idealized by the romantics in William Tell , The Regiment's Daughter or Giselle – with their own pettiness, thrown into the void of mistrust and ostracism by the uncertain shadow of a vulgar suspicion. The somnambulism of the protagonist thus acts as the revulsive necessary to wake everyone up from a collective nightmare, while at the same time providing its climax to a poetic score that ended up becoming one of the most enduring and resistant icons of belcantismo.

This new production is carried out by Bárbara Lluch, a national promise who, after a decade of work in London, has presented Le cinesi , La casa de Bernarda Alba and La del manojo de and who, according to what is known , will present La sonnambula with a lucid modern and feminist touch.

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