Lucia di Lammermoor - Liceu

Gaetano Donizetti

2h 33
Spanish , English

Juan Diego Flórez made his debut in the role of Edgardo in Lucia di Lammermoor in November 2015 at the Gran Teatre del Liceu, in this production by Damiano Michieletto, directed by Marco Armiliato and featuring soprano Elena Moșuc in the title role.


Based on Walter Scott's gruesome historical novel The Bride of Lammermoor, which Salvatore Camarano turned into a libretto for Gaetano Donizetti, who composed the opera in barely a month, Lucia di Lammermoor expresses the romantic love that endures beyond lies, misunderstanding, madness and death. Set in Scotland, the rivalry between two enemy clans is the setting for the love between Lucia and Edgardo, who secretly swear a vow of marriage to each other. The protagonist, Lucia, is one of the great challenges of the operatic repertoire, both vocally and scenically, and is known for one of its high points, when the character indulges to madness.


The Liceu's staging, directed by Damiano Micheletto and premiered at the Opernhaus Zürich, recreates an atmosphere "devoid of excess, dominated only by the sharp, cold glass of a tower, which is both a place of celebration and death", in the words of the stage director.

Dramma tragico in three acts


Music by Gaetano Donizetti (1797-1848)

Libretto by Salvatore Cammarano, based on the novel The Bride of Lammermoor (1819), by Walter Scott

Orquestra Simfònica del Gran Teatre del Liceu

Cor del Gran Teatre del Liceu


Artistic team

Conductor | Marco Armiliato

Stage director | Damiano Michieletto

Set designer | Paolo Fantin

Costume designer | Carla Teti

Lighting designer | Martin Gebhardt

Chorus master | Conxita Garcia



Lord Enrico | Ashton Marco Caria

Lucia | Elena Moşuc

Sir Edgardo di Ravenswood | Juan Diego Flórez

Lord Arturo Bucklaw | Albert Casals

Raimondo Bidebent | Simón Orfila

Alisa | Sandra Ferrández

Normanno | Jorge Rodríguez-Norton


Opéra National de Paris
Gaetano Donizetti
Laurent Pelly, Edward Gardner

A simple but effective plot (a shy and naive young peasant buys a charlatan a love potion, actually a simple bottle of wine, to conquer the girl he is in love with; the beauty will finally realize that he loves the young man without the help of the elixir), a joyous musical language with bright and particularly inspired melodies (including the famous "Una furtiva lagrima"), made this opera composed in 15 days by Donizetti a true masterpiece.


Transposing the action into Italy in the 1950s, director Laurent Pelly achieves a true gem, finely chiseled and highly poetic.


With the collaboration of Naxos

Donizetti Opera festival
Gaetano Donizetti
Riccardo Frizza, Maria Pilar Pérez Aspa

Kenilworth Castle was performed at the San Carlo in Naples on 6th July 1829. Tottola’s libretto referred to a novel by Walter Scott, Kenilworth (1821), through a variety of mediations that somehow created distance between the libretto and its source: the first was Leicester or Le Château  de Kenilworth by Scribe and Auber (1823), the second was a comedy by Gaetano Barbieri (1824) from which Tottola also drew the Italian title of his libretto. These two versions gave Tottola his happy ending, with Queen Elisabeth I pardoning her beloved Leicester after he had secretly married the young Amy Robsart (in Scott’s novel, Amy died at the evil hand of Varney).


Kenilworth Castle, the first opera with two counter-posed female roles, marked the beginning of the “English-themed operas” and, after Anne Boleyn, the so-called “Elisabethan” ones: Mary Stuart and Robert Devereux. These anticipatory traits highlight the role that Kenilworth Castle played in bringing the Teatro Donizettiano from classic drama to romantic drama and the definitive  end of the Rossini model which can still however be perceived today. Riccardo Frizza, musical director of the Donizetti Opera Festival, will lead a stellar international cast and the audience on a journey to discover this “legendary” opera by the Bergamo-born composer.


With the collaboration of Naxos

Teatro Real
Giachino Rossini
Juan Diego Flórez, María Bayo, Pietro Spagnoli...

With an excellent cast led by Juan Diego Flórez, María Bayo, Pietro Spagnoli and Ruggero Raimondi, this production of “Il barbiere de Siviglia”, first performed at the Teatro Real Madrid in January 2005, was conducted by the great Rossini expert Gianluigi Gelmetti and staged by Emilio Sagi, Artistic Director of the Teatro Real from 2001 to 2005.

In this production, conceived as an ingenious “folie organisée”, everything is in movement, nothing is certain, including the set (completely white). This constantly changes and transforms itself in full view of the audience, to create the different scenes of the opera.

The cheerful, witty and extrovert nature of the people of Seville is a permanent element throughout the opera, as seen in the meticulous performances of the main cast (all excellent actors), the chorus and the actor-dancers. The opera becomes an immense choreography where the set and props are part of the dance.

Although the period is not exactly defined, the set design suggests the 18th century, an era of upheaval when the rigidity of the Ancien Régime gave way to the Enlightenment, and the seeds were sown for what was to come: the revolution of the bourgeois.

Colour and lighting become part of the drama rather than mere set-dressing: everything is in black and white.  There is only a touch of colour with the appearances of Rosina and her rebellious joie de vivre. This is quickly wiped away by Bartolo’s servants.

Finally, in the “tempesta” a multicoloured rain transforms the monochrome set, and more colours gradually emerge as the plot reaches the denouement.

The lively, bustling streets and spontaneous nature of the local people of Andalusia, with their flamenco-inspired dances and gestures, are an essential part of the choreography of the opera. The audience is drawn in with the opera’s surprises in a humorous theatrical breach of the fourth wall.

Teatro Real
Gaetano Donizetti
Bruno Campanella, Alessandro Talevi

With a libretto loosely based on the relationship between the Earl of Essex and Queen Elizabeth I of England, Donizetti created a work full of virtuoso arias, softening the historical events with bel canto and coloratura. First performed at the Teatro San Carlo, Naples, on 29 October 1837, it reflects the desolation of the composer, who had lost his parents, his two children and his wife Virginia.


Salvatore Cammarano based his text, as in Lucia di Lammermoor, on the drama of a doomed relationship between Queen Elisabetta (Elizabeth I of England) and Roberto, Earl of Essex, who is in love with Sara, the wife of his friend the Duke of Nottingham. Donizetti refined his tendency to concentrate emotional climaxes and action in a limited space: the tragedy of two ill-fated couples is continually sustained by the music.

Teatro Real
Vincenzo Bellini
Evelino Pidò, Emilio Sagi

Known as a masterpiece of Romantic opera, it was staged for the first time in the Teatro Real in June 2016, with an exceptional cast including Diana Damrau, Javier Camarena, Venera Gimadieva and Celso Albelo, with the Teatro Real Orchestra and Chorus.


This is the last opera by Bellini, who died at the young age of 34 after having triumphed in Parisian high society, and finally —in a music scene dominated by Italians, from Rossini to Donizetti, his great rival— having been commissioned to write a piece which would be first performed at the Théâtre Italien in 1835. The Sicilian composer chose a historical subject, set during the English Civil War when Cromwell and the Puritans clashed with the Royalists. He created an exciting love story featuring plenty of passion, treachery and madness. The opera centres on a typical Romantic heroine, Elvira, who finds herself inexplicably abandoned by her betrothed on her wedding day. The pain this causes her is so unbearable that she goes insane. Madness was characteristic of the Romantic era: the physical fragility and social marginalisation of the characters was a way to make the irrepressible force of their emotions more expressive. In the stylised staging by Emilio Sagi, the characters appear to be overcome by melancholy.