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The Triumph of Time and Truth

VenueGran Teatre del Liceu
CalendarSat 17 Apr 2027
Synopsis/Details

Il trionfo del tempo e del disinganno – Georg Friedrich Händel | Opera in Concert

Oratorio in two parts. Libretto by Cardinal Benedetto Pamphili

 

Händel and the invisible battle of the soul between time and vanity

Everything beautiful fades. Handel, with this first great moral allegory, approaches a vibrant and invisible battle of the human soul. Il trionfo del tempo e del disinganno, premiered in Rome in 1707, is a vast canvas that reflects on vanity: Youth, Beauty, Time, and Disillusion confront one another in a dialogue of splendours and shadows that reveals that the struggle between the ephemeral and the eternal remains one of the essential drives of the human being.

In concert version, the audience can fully immerse themselves in the emotional and spiritual fabric that Handel conceived with dazzling precocity. Each aria is a confession, each recitative is one more step on the inner path that leads from worldly seduction to intimate revelation. The drama —as subtle as it is piercing— pulses in the lines of the most beautiful melodies written by Il caro Sassone.

 

Giovanni Antonini’s direction, a master in the art of making Baroque music breathe with organic energy and rhythmic incandescence, turns this version into a solemn act. With the complicity of Il Giardino Armonico, one of the most dynamic ensembles in the historically informed performance scene, the score recovers its most primordial profile: that Baroque quality which is not empty ornamentation, but vital tension, a telluric force born from the contrast between light and fragility.

Antonini portrays a young Händel, brilliant, but also deeply aware of the fragility of human passions. His vibrant textures, his tempi filled with controlled electricity, reveal an inner world in full ebullition.

Thus, what in the 18th century was a moral meditation becomes today an experience of artistic lucidity: a triumph of time, which erodes vanities; of disillusionment, which reveals the true value of the journey; and, above all, of music, which remains a spiritual compass. An invitation to look at ourselves without a veil, to listen to what remains when beauty fades, and to recognize, in that nakedness, the truth that transforms us.

Cast

Bellezza: Anett Fritsch

Piacere: Julia Lezhneva

Tempo: Krystian Adam

Disinganno: Lucile Richardot

 

Il Giardino Armonico - Director Giovanni Antonini

 

Approximate running time: 2h 30min

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.

Accomodation

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