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© Gran Teatre del Liceu
Akhnaten
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October 2025  | ||||||
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Akhnaten – Philip Glass
Opera in three acts.
Libretto by Philip Glass in collaboration with Shalomon Goldman, Robert Israel, and Richard Riddell.
Approximate running time: 3 hours
Glass built an opera by exploring the invisible forces that influence the internal, interpersonal, and universal aspects of existence.
Philip Glass, an influential American composer with a catalog that includes film soundtracks, chamber music, music for dance, symphonies, theatrical pieces, and various forms of opera, decided to dedicate a trilogy of operas to great revolutionary figures in history. Following Einstein on the Beach (1976), which explored notions of time and space, and Satyagraha (1980), where he delved into Gandhi's spiritual and political revelation of nonviolence, came Akhnaten (1984), the culmination of this monumental portrait project.
Akhnaten tells the story of one of the most influential figures in history: the first pharaoh to transition from worshiping a pantheon of gods to just one, making Râ, the Sun, the sole deity of his kingdom. The award-winning countertenor Anthony Roth Costanzo will take on the complex lead role, alongside Rihab Chaieb as Nefertiti.
Using texts from the era (ancient hymns, prayers, and inscriptions sung in their original Egyptian, Hebrew, and Akkadian), including a poem by Akhenaten himself, the opera traces his brilliant reign from his accession to the throne after the death of his father, Amenhotep III, to his downfall. Akhnaten features some iconic moments of minimalist music, such as the fabulous Coronation Scene.
Glass created an opera by exploring the invisible forces that influence the internal (psychological), interpersonal (political), and universal (mystical) aspects of existence, themes uniquely represented through the composer’s mesmerizing musical lines. The opera offers a captivating portrayal of the protagonists’ deepest emotions (excitement, fulfillment, despair) through musical forms such as glorious hymns, obsessive repetitions, and painful laments: sounds that emerge from the very depths of the characters’ souls.
Set during Akhenaten's 17-year reign, around 1350 BCE, Akhnaten transports the audience to the fascinating world of ancient Egypt, filled with rituals and codes. Philip Glass’s masterful minimalist music is paired with a stunning production by Phelim McDermott (Metropolitan Opera House and English National Opera), featuring stylized movements, choreographed juggling by Gandini Juggling, and sumptuous costumes designed by Kevin Pollard.
This is one of the most significant premieres in the national territory in recent decades. A hypnotic score and a sensual staging brimming with visual magic.
Program and cast
Akhnaten - Anthony Roth Costanzo
Nefertiti - Rihab Chaieb
Queen Tye - Katerina Estrada Tretyakova
General Horemhab - Joan Martín-Royo
Aye - Toni Marsol
High Priest of Amon - José Manuel Montero
Amenhotep / escriba - Zachary James
Beketaten - Alba Valdivieso
Meretaten - Carmen Buendía
Maketaten - Mar Esteve
Akhesenpaaten - Gemma Coma-Alabert
Neferneferuaten - Marina Pinchuk
Sotopenre - Anna Tobella
Stage direction - Phelim McDermott
Set design - Tom Pye
Costume design - Kevin Pollard
Lighting design - Bruno Poet
Choreography - Sean Gandini
Production - English National Opera and LA Opera
Choir of the Gran Teatre del Liceu
Conductor: Pablo Assante
Symphonic Orchestra of the Gran Teatre del Liceu
Conductor: Karen Kamensek
Gran Teatre del Liceu
Barcelona's opera house, the Gran Teatre del Liceu, was founded on the Rambla in 1847 and has continued over the years to fulfil its role as a culture and arts centre and one of the symbols of the city.
Today it is publicly-owned (by the Government of Catalonia, Barcelona City Council, Barcelona Provincial Council and the Ministerio de Educación, Cultura y Deporte) and administered by the Fundació del Gran Teatre del Liceu which, in addition to the aforementioned bodies, incorporates the Patronage Council and the Societat del Gran Teatre del Liceu (the old society of owners).
Origins: From 1837 to 1847
The Liceu evolved out of the Sociedad Dramática de Aficionados (Society of theatre-lovers) set up in 1837 at the instigation of Manuel Gibert in the former convent of Montsió by members of the National Militia, an organization of armed citizens with liberal leanings.
Barcelona's economy and population were growing fast at the time and the city needed a music conservatory. This led to the conversion of the Sociedad Dramática into the Liceo Filármonico Dramático Barcelonés de S.M. la Reina Isabel II (Barcelona Dramatic and Philharmonic Lyceum of HM Queen Isabel II). In addition to its theatrical activities, the new organization cultivated Italian-style singing and music.
The building on the Rambla
The original building was solemnly opened on 4 April 1847. The plans had been drawn up by Miquel Garriga i Roca, subsequently assisted by Josep Oriol Mestres. The project was funded by selling shares, which meant that many of the boxes and seats were to be privately owned. The shareholders formed the Societat del Gran Teatre del Liceu, known as the “Societat de Propietaris” (Society of Owners), which was in sole charge of running the Gran Teatre del Liceu from 1855 onwards, after it was legally separated from the Conservatori del Gran Teatre del Liceu.
The theatre was operated by impresarios who were given a concession to stage a specific number of productions in exchange for the proceeds from the sale of tickets not reserved for the Societat itself. This system was to endure until 1980.
The creation of the Consortium
By the last quarter of the 20th century this management system was no longer viable. In 1980, to avert the danger of the disappearance of an institution of such worldwide cultural renown, the Generalitat Catalonia's first government in modern times – set up a consortium, the Consorci del Gran Teatre del Liceu, which also incorporated Barcelona City Council and the Societat del Gran Teatre del Liceu. Barcelona Provincial Council joined the Consortium in 1985, followed by the Spanish Ministry of Culture in 1986. From then on the Consortium took over operation of the theatre.
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