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Monteverdi Madrigals VIII

VenueGran Teatre del Liceu
CalendarThu 27 May 2027
Synopsis/Details

Monteverdi Madrigals VIII – Concerto Italiano

 

The madrigals of Claudio Monteverdi (1567-1643) are an essential catalogue in the history of music and represent the culmination of a genre. In their evolution, however, they also give way to the birth of a new one: opera. Grouped into nine books published between 1587 and 1651, the last posthumously, the madrigal cycle constitutes a fascinating and poetic journey towards the origins of opera that the Liceu began in the 2021-2022 season.

Five years separate the publication of Sesto Libro de’ Madrigali (1614) and Concerto. Settimo Libro de’ Madrigali (1619), both belonging to Claudio Monteverdi’s Venetian period. However, the Settimo Libro marks a decisive break with the previous tradition. The very title, Concerto, refers to the union of heterogeneous elements and announces a new formal and expressive conception.

 

For the first time, Monteverdi abandons the fixed five-voice setting and opts for a diverse combination of formations—especially duets—together with “other genres of song” such as arias, canzonette, pieces in stile rappresentativo, and a ballo. All these works are accompanied by basso continuo, here enriched with a more elaborate instrumental layout, in two ensembles differentiated by tessitura.

This transformation is not only a response to market demands, but the result of a deeper evolution of musical language. The book opens with a programmatic preface that invites the listener on a journey through human emotions. The individual voice gains prominence and the relationship between music and text intensifies until it reaches a true dramatic dimension.

In Rinaldo Alessandrini’s interpretation at the head of Concerto Italiano, this vision unfolds with clarity and sensitivity, thanks to a refined, expressive performance deeply faithful to the Monteverdian spirit. The Settimo Libro thus reveals itself as a work that moves directly and places the listener at the very centre of emotional experience.

Cast

Director: Rinaldo Alessandrini

 

 

Venue
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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