Die Walküre in Barcelona



 Walkure17_02Die Walküre

Richard Wagner

19, 22, 23, 25, 27, 28, 30 and 31 May and 3 June 2014

Chronicles of a great war

The first part of Wagner’s great mythological system is the building of Walhalla, the mansion of the gods. The second part – recounted in Die Walküre – is the evolution of human society, with its laws and taboos. The prologue to The Valkyrie shows the terrible consequences that inevitably arise in a place isolated from the world and set aside for the gods. Theft, murder and the devastation of land and culture are rampant. This opera, dominated by the horrors of war and tribal conflict and revenge, is a gloomy poem about apocalyptic prophecies and the betrayal of debased humanity, about the spread of moral corruption to an environment contaminated by the action of Man. Robert Carsen’s production is the follow-up to the first ‘day’ of his Ring Cycle. In it he presents an environmentally pessimistic vision with close affinities to Schopenhauer’s philosophy, itself the key to the evolution of Richard Wagner’s Weltanschauung.

Music drama in three acts. The first ‘day’ of the tetralogy Der Ring des Nibelungen (The Ring of the Nibelung). Libretto and music by Richard Wagner. Premiered on 26 June 1870 at the Royal Theatre in Munich. First performed at the Gran Teatre del Liceu on 25 January 1899. Most recent performance at the Gran Teatre del Liceu: 7 July 2003.

The Ring of the Nibelung cycle at the Liceu.

The Ring of the Nibelung is a cycle of four musical dramas with text and music by Richard Wagner, which has its central theme the possession of a magic ring, forged by the Nibelung Alberich, which grants anyone possessing it the power to rule the world. All of its inhabitants ─ gods, men and Nibelung ─ are overcome by the desire to possess the ring, except for the protagonist: Siegfried, a hero who is free from the gregarious servitude of power and gold. “The Ring of the Nibelung” – preceded by the prelude (Das Rheingold) – is the story of the origin (Die Walküre), the glory (Siegfried) and the defeat (Götterdämmerung) of this hero. This way, Wagner wanted to create a myth ─ like the great myths of Greek civilisation ─ that was not a mere anecdote but a fable on human nature with a universal and timeless value, and he based it on mediaeval epic texts (twelfth-thirteenth centuries) such as the “Song of the Nibelung” in order to create a genuinely German mythology.

Robert Carsen, stage director of the cycle, has designed a drama far removed from grandiloquence that invites the spectator to focus on the essence of the work.

Josep Pons

Stage direction
Robert Carsen

Scenography and Costumes
Patrick Kinmonth

Manfred Voss

Buhnen der Stadt Koln (Colonia)

Symphony Orchestra of the Gran Teatre del Liceu



Sieglinde Anja Kampe 19, 22, 25, 28 and 31 May, 3 Jun
Eva Maria Westbroek 23, 27 and 30 May
Siegmund Klaus Florian Vogt 19, 22, 25, 28 and 31 May, 3 Jun
Frank Van Aken 23, 27 and 30 May
Brünnhilde Irene Theorin 19, 22, 25, 28 and 31 May, 3 Jun
Catherine Foster 23, 27 and 30 May
Wotan Albert Dohmen 19, 22, 25, 28 and 31 May, 3 Jun
Greer Grimsley 23, 27 and 30 May
Hunding Eric Halfvarson 19, 22, 25, 28 and 31 May, 3 Jun
Ante Jerkunica 23, 27 and 30 May
Fricka Mihoko Fujimura 19, 22, 25, 28 and 31 May, 3 Jun
Katarina Karnéus 23, 27 and 30 May
Helmwige Daniela Köhler  
Orlinde Maribel Ortega  
Gerhilde Susana Cordón  
Siegrune Kai Rüütel  
Waltraute Pilar Vázquez  
Rossweisse Ana Häsler  
Grimgerde Anna Tobella  
Schwertleite Kismara Pessatti


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