CARMEN

GEORGES BIZET


PALACE OF CATALAN MUSIC

POPULAR OPERA OF BARCELONA

13 AUGUST 2023

7:00 p.m.


Duration: 2.30 hours with a half of 15 minutes

A Carmen from Barcelona


Our Carmen wants to be the chronicle of a homicide, of the violent murder of a woman.

Stolen from the imagery of Luís Buñuel, the mise-en-scène is nourished by the sour sherry of the tablaos of the Rambles and the fragrance of oranges and the sea that has the aftertaste of absinthe in the brothels of Barcelona.

Barcelona in the 1960s was a port of contraband and slaves of a secular misery that was even more intense during the dictatorship of General Franco. According to the dictator's regime, they celebrated twenty-five years of peace under a totalitarian state that lasted until his death.

Greedy, intelligent and free Carmen pays the highest price as a perfumed Virgin.

In loving memory of Jordi Ribera i Bergos, erudite artist and high school student at heart who worked so hard to promote the love of opera and its poetry.

  • ARTISTIC TEAM

    CARMEN

    Music Georges Bizet

    Libretto Ludovic Halévy y Henri Meilhac


    Orquestra de Cambra Terrassa 48

    Conducted  by Xavier Puig

    Stage director  Jaume Villanueva

    Choreography  Kevin Donaire

    Choreographies inspired in the flamenco universe of

    Eli Ayala i Nacho Blanco

    Costume design Montse Miralles

    Clothing and props Anaïs Roca

    Ligths by Claudi Palomino

    Characterization Laura Liñán, Mary Cortes, Roger Grinyó

    Stage managers Álvaro Durán, Juliana Tauber

    Production manager Marina Negre


    Concertmaster Quim Térmens

    Choir director Eric Varas

    Piano repeater Juli Rodríguez, Montse Pujol  

    Lighting technology IMESDE

    Clothing and props  Rafató Teatre

    Translator Jordi Monfort

    Photography & graphics 

    Asimètic films, Biel_fpv, Octavi Brull 

    Anna Martínez, Bernat Arcusa

    Communication Jeloudoli


    Carmen    Caitlin Reddin

    Don José   Nacho Guzmán

    Escamillo   Joan G. Gomà 

    Micaela   Mireia Dolç

    Remendado   Adrià Mas

    Dancaïre   Jordi Ferrer

    Frasquita   Alba Martínez Nieto 

    Mercedes   Maria Jurado

    Zúñiga   Néstor Pindado

    Morales Alejandro Chelet


    Choir:

    Sopranos:

    mma Masramon

    Gabriela Shurrer

    Ayelén Seras

    Leyna Díaz

    Marie Laurie Butty


    Mezzosopranos:

    Edith López  

    Sara Garcia  

    Nadia Ruseva 

    Carmen Berenguel 

    Marta Mateu 


    Tenors: 

    Víctor Galiano  

    José Luizs González 

    Albert Valero 

    Dídac Gámez  

    Roger Vicens  


    Basses: 

    Carles Salmons 

    Ariel Seràs  

    Alejandro Chelet 

    Raúl Blangino  

    Germán Casetti


    Ballet

    Alex Cabrera

    Guillem Calderón 

    Izan Campos 

    Guillermo Castillo

    Kevin Donaire

    Dolça Gallego 

    Alejandro Vizuete

     

    Bullfighting advisors

    Alfonso Casanova

    Hugo Casanova


    Capotes

    Capotes y muletas Maria José


    Figuratión

    Mari Benitez

    Jeremy Chiapolini

    Nacho Diez

    Oriol Gallemí

    Marina Gumbau

    Mar Rodriguez

    Nadine Strelnikova

    Alex Valls


    Figuración children

    Queralt Balsera

    Aira Belmonte

    Amneris Belmonte

    Thiago Sánchez

    Vega Sánchez

    Queralt Moriña

    Eyli Quintas


    With the la colaboration:

    Conservatori  Professional de Dansa de l'Institut del Teatre

    Muhba. Museu d’història de la ciutat

    Museu d’Història de Catalanya

    Tablao Flamenco de Carmen

    Mar RodrÍguez Atelier


    Orquestra Terrassa 48

    QUIM TÉRMENS concertino

    PERE BARTOLOMÉ violí 1r 

    IRENES SERRAHIMA violí 1r 

    JUDITH ORTEGA violí 1r 

    ARIADNA TORNER violí 1r 

    HUMBERT ROVIRA violí 1r 

    IRANTZU ZUASTI cap violins 2ns

    ALEIX PUIG violins 2n

    LAURA MARIN violins 2n

    EDUARD MOYA violins 2n

    NÚRIA MESALLES violí 2n

    ALBERT ROMERO viola

    FÉLIX GALLEGO violea

    LAIA MARTÍ violes

    NÚRIA PADRÓS violoncel

    MANUEL MARTÍNEZ violoncel

    SEBASTIEN FOREST contrabaix

    BERNAT CASTILLEJO flaute

    MIRJAM PLAS flaute

    ENRIC TUDELA oboè

    GUILLEM VILAR oboè

    CARLES PERTEGAZ clarinet

    ANTONI ROCOSA GIRBAU clarinet

    CLARA CANIMÀS fagot

    ALEJANDRO FERREIRA fagot

    MARC MONZONIS trompeta

    ÀLEX BAIGET trompeta

    PAU VALLS trompa

    JOAN CAMPS trompa

    JORDI GIMÉNEZ trombó

    MARC CASAS percussió

    NÚRIA ANDORRÀ picolo


    Figuración programa y cartel

    Ester Bastida


    Carmen es una creació filarmónica de

    OPERA POPULAR DE BARCELONA

    Administradora artística general Cristina Raventós

    Dirección artística Eric Varas

    Director artístico adjunto Jaume Villanueva

    Patrones fundadores de honor

    Josep Arias Velasco, Xavier Biel, Jordi Ribera Bergós

  • STAGE DIRECTOR

     Chronicle of a crime of gender violence.  

    I killed her because she was mine. Chronicle of a gender-based violence crime.


    Bitter and sinister, free from anachronisms that could relegate it to the status of a mere tradition, our Carmen wants to be the chronicle of a homicide, the violent murder of a woman.


    Stolen from the imagery of Luis Buñuel, the mise-en-scène is nourished by the sour sherry of the tablaos on Las Ramblas and the fragrance of oranges and sea that carries the bitter taste of absinthe from the brothels of Barcelona, a port of smuggling and slavery in the midst of a secular poverty that intensified during General Franco's dictatorship.


    The most sordid Barcelona of the sixties is the labyrinth where a prostitute dyed in pink, a bullfighter elevated to the status of a deity, and a poor drunken civil guard, a disabled war veteran, cross paths. 


    Carmen and Escamillo are the involuntary and prophetic allegory of Manolete and Lupe Sino: the greatest bullfighter of all time and his experienced friend. Lupe Sino, a woman with a confessional past, publicly insulted by the mother of the bullfighter and scorned by the general public. Lupe is judicially executed through the media, turning her life into a mess. The lust of the aroma of a cigar often confuses with the bitter scent of the blood of the bull that agonizes, kneeling "en el ruedo."


    The analogy between the sentiments evoked throughout history by Carmen's murder at the hands of Don José and the media lynching to which the press subjected Lupe Sino after Manolete's death in 1947 is surprising and miraculous. Aligning with the prevailing morality of the time, the crime was justified in crime reporting, labeling it as vindictive and deserved, considering Carmen's moral condition and the general animosity provoked by her behavior, hypothetical licentiousness, and her socially inferior relationship with the prominent matador.


    In this grotesque and Dantesque conception, centered on the tragedy of the woman, the figures of Don José and Escamillo must appear ridiculously insignificant. Had they not been separated by the twists of fate, Escamillo and Don José would have shared the same fate and destiny; they are identical creatures, two sides of the same coin.


    In the 1940s, the children of deep Spain dreamed of becoming renowned bullfighters. The millions and millions of adolescents who couldn't achieve glory had the option to either emigrate abroad if they wanted to prosper or become members of the Civil Guard, founded by the Duke of Ahumada in 1844—just a few months before Mérimée put an end to the manuscript—precisely to try to drive away the gypsies, smugglers, and bandits who inhabit Bizet's composition.


    Carmen is a bullfighting metaphor for the struggle between Don José, "a rooster that feels big because he can spit far," and the devil who tempts in paradise: Carmen, covetous, intelligent, and free at the highest price, blushing like a perfumed Virgin.


    Jaume Villanueva

  • SYNOPSIS OF THE ORIGINAL ARGUMENT

    Carmen is set in Seville.

    The story revolves around Carmen, a beautiful and seductive gypsy who works in a tobacco factory.

    Carmen captivates all the men around her, including the soldier Don José, who falls madly in love with her and abandons his fiancée, Micaela.

    Dancaïre and Remendado are two smugglers and friends of Carmen. They plan their illegal activities and recruit Don José to join their gang.

    The relationship between Carmen and Don José becomes increasingly complicated.

    While Carmen wants to pursue her love with Escamillo, Don José falls into despair and jealousy.

    Frasquita and Mercedes, close friends of Carmen, worry about her safety and try to warn her about the consequences of her actions.

    However, Carmen remains faithful to her desire to live freely and follow her own path.

    Throughout the opera, Micaela tries to rescue Don José from Carmen's charms and bring him back to his former life.

    Don José, tormented by jealousy, obsession, and his inability to control Carmen, is ultimately consumed by anger and despair.

    In a moment of fury, Don José stabs Carmen to death.

Photograph provided by Carmen and Manuel Lorente, active dancers in the sixties in Barcelona

  • SYNOPSIS - Act I

    ACT I


    Barcelona 1960


    The Ramblas of the city of Barcelona, between the Tabacs de Filipines factory and the Civil Guard station.


    Micaela searches for Sergeant Don José at the existing outpost in the square. Informed by Captain Morals and his guards that Don José will come with the group that is supposed to relieve them, she decides to return later to meet her compatriot. Barely has she left the square when the relief takes place by a detachment led by Zúñiga, with whom Don José comes along while a parade of boys singing cheerfully passes by.


    Don José is informed of Micaela's arrival and expects the visit of the young woman who likely brings news of his mother. However, Zúñiga asks him for details about other very different women. Isn't this the place where the capricious cigarreras, known throughout the city, work? José confirms it, pleasing the captain who is serving here for the first time. Then the factory bell rings for the work break, and among the other cigarreras, Carmen, the most beautiful and free-spirited of them all, comes out. Many men court her, but today she focuses her gaze on Don José, the only one who doesn't seem interested in her. When the break at the factory is over and the other young women return to work, Carmen passes by the factory closely and throws a flower at the sergeant before disappearing inside. José stands up, observing the flower, and follows the woman with his eyes.


    Micaela approaches, bringing him a letter, money, and a kiss from his mother. Don José is happy because someday Micaela will be his wife. As soon as he says goodbye to his childhood friend, a great commotion is heard coming from the factory. The women rush towards Captain Zúñiga, shouting and interrupting each other, saying that Carmen, in a fight, wielded a knife and wounded another worker. Therefore, Zúñiga orders José to go to the factory to arrest Carmen. While on duty, the captain writes the arrest order that José will use to take Carmen to prison. However, she manages to seduce the young sergeant with her charms, and he agrees to let her escape when she is under his custody and being led to prison. In return, she promises to give him her love and arranges to meet him at night at Lillas Pastia's tavern, near the Ramblas, in the Raval neighborhood.


    When Zúñiga arrives with the arrest order, Don José lets the cigarrera escape as agreed. The sergeant is then arrested for dereliction of duty

  • SYNOPSIS - Act II

    ACT II


    Lillas Pastia's Tavern


    A place frequented by Carmen and her fellow smugglers. There is a lot of animation and revelry. Alongside Frasquita and Mercedes, Carmen sings and dances for the patrons, learning from Captain Zúñiga that José has completed his arrest and has been set free. Escamillo, a brave and daring bullfighter, makes his triumphant entrance into the tavern. He is also one of Carmen's suitors, but she has only one word for him and Captain Zúñiga: "wait."


    As the outsiders leave, two smugglers, Dancaire and Apedaçat, enter, fleeing from the Civil Guard, to "negotiate" with Carmen, Mercedes, and Frasquita about their "business." Together, they distract the police in order to free themselves and engage in smuggling without being caught. They are all in cahoots, except for Carmen, who initially doubts the conditions of the "business" and has doubts about Don José, who freed her from prison.The cunning criminals have a good idea for Carmen to definitively join their cause: to persuade Don José when he arrives at the tavern to desert and join their gang, as his knowledge would surely make him a magnificent ally in their smuggling expeditions. Carmen will try it, first making Don José swear his love for her, then dancing for him, and finally seductively holding onto him when the bugle sounds from the barracks. José becomes anxious because Carmen doubts his love when he wants to return to his duties. Don José explains himself and confesses his passionate love once again. In vain, as she urges him to stay with her or leave forever. José wants to leave, but Captain Zúñiga unexpectedly appears at the tavern to see Carmen, who has been so elusive towards him. Possessed by jealousy, José confronts his captain. The smugglers disarm Zúñiga and corner him until the end. With this, Don José's career is over—he will accompany Carmen, reuniting with her and the gang of smugglers



  • SYNOPSIS - Act III

    ACT III


    Location in the mountains of Montjuïc or Collserola or any location on the way to the border


    The smugglers and other emigrants have stopped for a short rest. José must guard the merchandise while the others find out if the path is clear. Carmen, who asks the cards about her fate, bores Don José. She dreams of being with the bullfighter Escamillo. Is it true that the cards, no matter how they are arranged, always foretell death? The smugglers continue their journey, with only José remaining vigilant. Micaela appears, sent by her mother to fetch Don José so he can accompany her to the side of her mother, who is deathly ill.


    Then Escamillo, the famous bullfighter, arrives at the smugglers' mountain, unexpectedly, to visit his beloved, unaware that he is faced with the spurned Don José. He boastfully narrates his adventure with the beautiful and oblivious woman. Only the reaction of the smugglers in the mountain prevents the furious Don José from ending the surprised bullfighter's life. Escamillo still doesn't understand Don José's reaction and, before leaving, invites Carmen and the smugglers to his upcoming bullfight at the Sorres Square in the City.


    As everyone prepares to continue their journey, Micaela appears to ask Don José to go with her to the village to see her dying mother. Carmen mockingly advises Don José to leave, stating that she wants nothing to do with him, and Don José, feeling humiliated, curses her before embarking on his journey alongside Micaela, swearing that they will meet again


  • SYNOPSIS - Act IV

    ACT IV


    Bullfighting arena at La Monumental where the crowd eagerly awaits the arrival of the bullfighters.


    Carmen and Escamillo will marry with a grand celebration.

    When Escamillo leaves to go bullfighting, Frasquita and Mercedes warn Carmen that they have heard José is nearby and filled with rage.

    She is unafraid and decides to confront him.

    Carmen encounters the desperate José. Despite his desperate pleas, pleas filled with resentment for having lost what he believed was his. Carmen doesn't give in to threats and intimidation.

    Applause for the bullfighter can be heard from inside.


    José pleads, seemingly repentant but showing all the hatred he feels for being betrayed once again by Carmen, who throws the ring he gave her.

    She wants to leave with Escamillo and watch him bullfight. At this moment, José, a false bullfighter, with genuine thirst for revenge, stabs Carmen, who has become an untamable bull that will only fall beneath his sword.

    What will happen to José?

  • ERIC VARAS - Artistic director

    He completed the Professional Degree in Piano at the Municipal Conservatory of Music in Barcelona under the guidance of Maria Rosa Ribas and Jordi Vilaprinyó, and upon graduating, he received the Honors Mention for his trajectory.


    He then entered the ESMuC (Higher School of Music of Catalonia), where he obtained the Superior Degree in Piano under the tutelage of Jean-François Dichamp. Subsequently, he began studying orchestral conducting at the Conservatory of the City of Vienna (MUK) with Professor Andreas Stoehr, with whom he continues to receive teachings to this day.


    His interest in vocal repertoire led him to study with Alan Branch and Francisco Poyato, and to receive classes from Matthias Goerne, Fiorenza Cedolins, Ermonela Jaho, Josep Surinyac, Malcolm Martineau, Simon Lepper, Wolfram Rieger, and Julius Drake.


    As a pianist, he has performed within the programming of festivals such as Life Victoria (Tast de Lied, Life New Artists, and Life Piano), the Schubertíada Vilabertran (II Academy of the Schubertíada), the Royaumont Festival, and the Torroella de Montgrí Festival (Fringe), and he has performed in venues such as the Gran Teatre del Liceu, Cercle del Liceu, Foyer del Gran Teatre del Liceu, Auditori Eduard Toldrà, Sala Alícia de Larrocha at the Auditori de Barcelona, Abbaye de Royaumont in Paris, and Schlosstheater Schönbrunn in Vienna, among others, collaborating with singers such as Adriana González, Marina Viotti, Mercedes Gancedo, Pau Armengol, Ulrike Haller, Violeta Alarcón, Lluís Calvet, and Jan Antem.


    In recent years, he has begun to work with different instrumental and choral ensembles, highlighting his role as an assistant to Miguel Ángel Arqued for the Cor Intermezzo and to Xavier Sans for the Cor Fòrum Vocal.


    Currently, he combines his professional commitments as a pianist, harpsichordist, and assistant with teaching at the Superior Conservatory of Music of the Liceu and with conducting the Coral Mixta d'Igualada.


  • JAUME VILLANUEVA - Stage Director

    He holds a degree in Performance from the Theater Institute of Barcelona and is a theater director and playwright, as well as an actor, dubbing director, and screenwriter for radio and television.


    He made his directorial debut in 1982 with "Zoo Story" by Edward Albee, translated by Terenci Moix. That same year, he won the Adrià Gual award for best direction project for "La desaparició de Wendy" by Josep M. Benet i Jornet, starring Martí Galindo and Loles León, which was a great success both with the public and critics in Madrid and Barcelona.


    Incapable of devising any mercenary strategies to advance his career, he only directs when he feels intimately involved in the works that impassion him.


    "Amor a mitges" by Allan Aikbourn, "El supervivent" by Manuel Vázquez Montalbán, "La veu humana" by Jean Cocteau, "Carpa Barcelona" (directed by Mario Gas for the Cultural Olympiad), "Tirant lo Blanc," and "1789, La Revolució" for Catalunya Ràdio are some of his most personal productions.


    In 2005, thanks to the unforgettable friendship of J. Arias Velasco, he founded Octubre Teatral, perhaps the most brilliant stage of his controversial theater career.


    "Con Belisa" by Federico G. Lorca, dedicated to Hermann Bonnin (beloved mentor), earned him a nomination for Best Visiting Director by the Association of Entertainment Critics of New York (ACE). After a successful national tour and a brilliant season at the Teatro Español, the play embarked on an extensive international tour, receiving extraordinary acclaim in theaters in the United States and Mexico, where it inaugurated the Cervantino Festival. "El llanto," another Lorca play performed in iconic theaters such as The Carnival in Miami, La Barraca in Lisbon, the Teatre Poliorama in Barcelona, and the Teatro Español in Madrid, had a brilliant season and was unanimously acclaimed by the public and international critics. It was a finalist for the Max Awards (2009 and 2010).


    "La Vampira del Raval" by Josep Arias Velasco, with music by Albert Guinovart, is one of the most beloved shows by the Barcelona audience and received five Butaca Awards and a Max Award for Best Musical Composition. "Romance de Curro el Palmo," based on the song by Serrat, depicting the immigrant population of Barcelona, is his most unusual production. It premiered at the Grec Festival in Barcelona with Nacho Blanco, Quiqui Morente, and Antonio Canales, and is considered by experts as one of the best flamenco musicals of all time. For now, it marks the end of the Octubre Teatral journey.


  • XAVIER PUIG- Orchestra Director

    Born in 1973 in Cervera (Lleida), he began his musical studies with piano and violin at the Municipal Conservatory of his city and later expanded them at the Professional Conservatory of Badalona, where he obtained the higher title of teacher of harmony, counterpoint, composition and instrumentation, under the guidance of MA Hurtado, M. Roger, B. Casablancas and J. Soler. At the same time, he began choral conducting at the Lleida International Choral Conducting Courses, where he studied with teachers Josep Prats, Johan Duijck, Laszlo Heltay and Jordi Casas (1990-1994). He continued this training at the European Management Courses, taught by Professor Pierre Cao in Catalonia (1996-1998), and at the Academie International de Pontarlier (France) (1997-1998). He was introduced to orchestral conducting with maestro Salvador Mas at the Conservatory of Barcelona and in 1999 he was admitted to the Universität für Musik und Darstelende Kunst in Vienna, where he studied orchestral conducting under the tutelage of Leopold Hager. In March 2002 he won the position of assistant conductor of the Joven Orquesta Nacional de España (JONDE) in a competition and in July 2003 he won the position of assistant conductor of the Barcelona and National Symphony Orchestra of Catalonia (OBC), with which has conducted different concerts with works by Mozart, Tchaikovsky and Britten. Since 2018 he has been the principal conductor of the Vallès Symphony Orchestra and principal conductor of the Palau de la Música Catalana Chamber Choir. He also conducts the Girona Orchestra and the Chamber Choir of the Enric Granados Auditorium in Lleida. He has directed for twenty-five years the Ginesta Choir of Cervera, and the Murtra Ensemble, dedicated to the music of the 20th century. In the opera field, he founded the chamber opera company Ópera de Tres Rals, dedicated to small-format opera, and currently directs several titles of the Ópera al Palau series. He has been guest conductor for numerous orchestras in the country and maintains a close relationship with Orquestra Terrassa 48, with which he will begin the comprehensive interpretation of Beethoven's symphonies. He is a professor of orchestra and conducting at the Escola Superior de Música de Catalunya (ESMUC). He has been guest conductor in numerous youth orchestras and currently directs the Conducting Course of the Terrassa Orchestra.

  • QUIM TERMENS - Concertino -ORQUESTRA DE CAMBRA DE TERRASSA

    CHAMBER ORCHESTRA TERRASSA 48

    Founded in its current form and philosophy in 2000, the ensemble has given great impetus and diffusion to music for string orchestra with programs that combine extensive research and proximity.


    The OCT48 is led from the violin by Quim Térmens, a musician from Sabadell who received his initial violin training from Ofèlia Rodrigo and later studied with the violinist and maestro Gonçal Comellas, with whom he developed musically and completed his higher studies. He has also received masterclasses from violinists Arkadi Futer and Michel Barta. He has been awarded, among others, the First Prize of the Arts (20th-century music category, Xavier Montsalvatge Award) granted by the Government of Catalonia. Throughout his career, he has promoted the dissemination and knowledge of works written for strings, becoming a reference in this field.


    He has been a member of the Chamber Orchestra of the Palau de la Música Catalana and the Chamber Orchestra Gonçal Comellas. Currently, he carries out his chamber music work in the Arcattia project, with concerts throughout the country and in Costa Rica, and he has been awarded, among others, the Xavier Montsalvatge Award. He is the author of several children's shows such as "Popoff, an Absent-Minded Composer," "Hartmann's Pictures," "Stories from Timbuktu," "Handel's Button," and "Telemann and the Story of Don Quixote." He has also composed several pieces for student string orchestras.


    In the pedagogical field, he has trained with personalities such as Sheila Nelson, Vaartan Manoogian, and Mimi Zweig, and he is the author of several children's shows. He carries out his teaching work at the Conservatory of Music in Vic as a violin teacher and conductor of its string orchestras. He has been invited to give lectures on pedagogy, serve as a jury member in instrumental and chamber music competitions, direct youth orchestra meetings, and serve as a violin teacher at the International Music Course Principat d'Andorra. He is currently the artistic director of the BBVA Religious Music Festival in Vic..

CAST

  • CAITLIN REDDING - Carmen

    Since graduating from the Juilliard School (Master of Opera), Caitlin has been in high demand as a performer of classical and contemporary music on American and European stages. Her acclaimed performances include Carmen (Carmen), Charlotte (Werther), Komponist (Ariadne auf Naxos), Angelina (La Cenerentola), Dorabella (Così fan tutte) and Cherubino (Le nozze di Figaro) in Hamburg, Berlin, Prague, Greece and New York. In recent years he has focused on experimental music and contemporary performance, including works such as Gubaidulina's Perception, Die Wahre Geschichte von King Kong (premièred at the Magdeburg Theatre), John Ritter's Requiem, Jakob Druckman's Animus II, George Crumb's River of Life Songbook and Jakob Ullmann's Voice, Books, and FIRE at Carnegie Hall, the Nuremberg Serenadenhof with the Nuremberg Symphony Orchestra, Alice Tully Hall (Lincoln Center, New York), as well as the Smetana Hall (Prague), Megaron Mousikis (Athens) and Berliner Festspielhaus. As an acrobatic singer, her first trapeze productions began with composer Chloe Charody (new circus operas shot in Berlin and the UK). The next works written for her as an acrobatic singer (Truth in the Cage and The Devil's Tiger) will open in Berlin in 2023 and in Australia in 2024. Caitlin is also part of the disability community (she has Erb's palsy in her arm and violates rights) and is passionate about the representation of people with disabilities in the performing arts. Caitlin participated as a young artist at the Internationale Meistersinger Akademie (Germany), the Opera Theater of Saint Louis (USA), the Crested Butte Opera Festival (USA) and the Castleton Festival (USA). She has a degree in Italian literature from the University of Maryland and currently divides her time between Berlin and Barcelona.

  • NACHO GUZMAN - Don Jose

    Tenor born in the city of Córdoba, Argentina, began his training in opera singing in 2011 after a successful career performing Argentine folk music. In that same year, he won a competition to join the Polyphonic Choir of the Province of Córdoba (Argentina).

    He made his debut in 2014 in his first solo role in the zarzuela "Luisa Fernanda" under the direction of Enrique Ricci. In 2015, he portrayed the role of Alfredo in "La Traviata," and in 2016, he performed in Verdi's "Un Ballo in Maschera." During these years, he traveled to Italy to pursue a Master's degree in Vocal Technique with renowned Italian teacher Franca Mattiucci.

    In 2017, he moved to Barcelona and, upon the recommendation of Argentine tenor Luis Lima, studied vocal technique with Natasha Tupín and repertoire with Fernando Álvarez. He has participated in masterclasses with Francisco Araiza, Jaume Aragall, Francesca Roig, and Cecilia Lapponi.

    He has performed leading roles in various productions of operas such as "Tosca," "Carmen," "La Traviata," "Il Trovatore," "Aida," "Pagliacci," among others.

  • JOAN GARCIA GOMÀ - Escamillo

    Joan Garcia Gomà, baritone. It started at the Escolania de S. Agustí de Sabadell. Then at the Barcelona Opera Studio, Amics Ópera Sabadell and Acadèmia Savall. Singing classes by Montserrat Caballé, Jaume Aragall, Carlos Chausson, Raquel Pierotti, Francesca Roig, Roberto Accurso and María Gallego. He has played the roles of Papageno (Magic Flute), Giorgio Germont (Traviata), Marcello (Bohème), Belcore (Elisir d'Amore), Escamillo (Carmen), Sílvio (I Pagliacci). In zarsuela the main roles in La Leyenda del Beso, La del Manojo de Rosas, La del Soto del Parral, Katiuska, Cançó d'Amor and de Guerra. In oratorio and cantatas; Handel's Messiah, Bach's Matthew Passion, Orff's Carmina Burana, Fauré's Requiem. He has worked with La Fura dels Baus and Comediants. He was 3rd prize in the 2012 Mirabent Magrans contest, 3rd prize in the 2011 Logroño Singing Contest, and the 14th Mirna Lacambra Contest 2010

  • MIREIA DOLÇ - Micaela

    Born in Barcelona, starts her studies in solfeggio and piano with her father, Xavier Dolç, among others. At the age of 16, she begins singing classes with different teachers such as Maria Angels Miró, Jorge Sirena, Elisa Jávega, Montserrat Aparici, Eduard Giménez, Daniel Muñoz, and currently with Francesca Roig. She studies at the Theater School of Barcelona with maestro Peter Gadish and takes interpretation classes with Montse Miralles, Osear Mas, Jordi Vidal, Davide Livermore, among others.

    She has also received masterclasses from masters like Plácido Domingo, Cristina Gallardo-Domás, Enedina Lloris, Ana Luisa Chova, and with Roger Vignoles (specialized in Lied).At the age of 19, she already performs roles as a comic soprano in various zarzuelas, and at the age of 24, she debuts as a soloist. Currently, she has interpreted around thirty titles such as Katiuska, La del Manojo de Rosa, La Tabernera del Puerto (P. Sorozábal), Luisa Fernanda (F.M. Torroba), La Corte del Faraón, La Canción de Amor y de Guerra, Bohemios, among others.

    She works in the musical Mari Cel and Scaramouche (A. Guinovart) with the company Dagoll Dagom, and also performs in La Tienda de los Horrores, Flor de Nit (A. Guinovart), El Mikado, Los Piratas (A. Sullivan). She has also performed as Gilda in Rigoletto (G. Verdi), Maruxa (A. Vives), Don Gil de Alcalá (M. Penella) in the role of Niña Estrella, and Carmen (G. Bizet) in the role of Micaela, currently performing at the Palau de la Música Catalana under the direction of Xavier Puig.



    • ALBA MARTÍNEZ NIETO - Frasquita

      She graduated from the Conservatori Superior de Música del Liceu under the guidance of maestro Eduard Giménez (2018). She has received lessons from great masters like Lisette Oropesa, Raúl Giménez, Mariella Devia, Fiorenza Cedolins, and Kurt Widmer, among others.

      She made her debut in 2019 with the role of Königin der Nacht (The Magic Flute), and in 2020, she won the Mirna Lacambra competition, obtaining the same role. She has performed various roles such as Erste Dame, Frasquita, and Berenice, among others, and has also acted as a soloist in different oratorios, such as Mozart's Requiem or Haydn's The Creation.


    • MARIA JURADO - Mercedes

      completed her vocal studies at the Liceu Conservatory in Barcelona. She is a notable mezzo-soprano and cellist known for her performances in roles such as Dorabella in Mozart's "Così fan tutte," Cherubino in "Le Nozze di Figaro," the Third Lady and Third Knabe in Mozart's "The Magic Flute," Mercedes in Bizet's "Carmen," and Hansel in Humperdinck's "Hansel and Gretel." She has performed worldwide, including in the United States, Cuba, Mexico, Iceland, Greece, Italy, and Spain. Maria has trained with prestigious masters such as Kurt Widmer, Lorraine Nubar, Cynthia Sanner, Ketevan Kemoklitze, Alexia Voulgaridou, Eric Halfvarson, Michelle Breedt, Mariella Debía, among others.

    • ADRIÀ MAS - Remendado

      He trained in dramatic arts at the Theatre School in Barcelona. He graduated from the Liceu Conservatory in Barcelona with a degree in lyric singing under soprano Elena Copons.

      As for professional experience, notable highlights include performances in Rossini's "La Petite Messe Solennelle," Mozart's "Coronation Mass," Verdi's "La Traviata" in the role of Gastone, Raquel García Tomás's "Suite of Myself," which premiered at the Barcelona Auditorium, and F.J. Haydn's "Harmoniemesse," presented at the Vila-real Opera Festival, among others.

      Currently, he continues his training and refinement under the guidance of maestro Eduard Giménez and pianist Marta Pujol.

    • JORDI FERRER - Dancaïre

      Baritone, born in Barcelona in 1989. He graduated from the Superior Conservatory of Liceu, completing his studies with the bass-baritone Carlos Chausson. He has received lessons from prestigious masters such as Nelly Miricioiu and Alessandro Corbelli. Currently, he continues his advanced training with the masters Carlos Chausson and Marta Pujol. He is a member of the vocal ensemble "Quintet Momentum" with whom he regularly collaborates and also a member of various choirs. As a member of the chorus of the operas of the Fundació Òpera de Catalunya, he has performed small roles during the past seasons and has also made his debut in the role of Dancairo in the opera Carmen at the Palau de la Música Catalana.

    • NESTOR PINDADO- Zuñiga

      from Terrassa and trained at the Catalonia College of Music under Lambert Climent in the specialization of early music, he made his debut in 2014 at the Barcelona Auditorium and in 2015 at the Palau de la Música Catalana and the Castell de Peralada Festival. In 2018, he won the second prize in the international lyric competition "Hermanos Plano, Balaguer City." His musical interests span from medieval to contemporary classical music, encompassing diverse genres such as lieder, opera, oratorio, and polyphony. With a warm, deep, and velvety voice, he has collaborated with both small ensembles and larger formations in the foremost concert halls and theaters across the country and Europe, including prominent venues like the Gran Teatre del Liceu or the Royal Theater, the National Auditorium, and renowned festivals like the Utrecht Early Music Festival or the OFF Liceu Contemporary Music Festival. Among his projects in 2019, his participation in "Madama Butterfly" at the Royal Opera stands out.

    • ALEJANDRO CHELET - Morales

      was born in La Pobla de Vallbona (Valencia). He graduated from the Municipal Conservatory of Music in Barcelona, obtaining the title of Honorable Mention in vocal performance. In 2021, he was awarded the "XXV Edition of the Professionalization Course" by the Sabadell Opera School for his performance in G. Rossini's opera "Il barbiere di Siviglia."

      As a soloist, he has portrayed the role of Dr. Bartolo in "Il Barbiere di Siviglia" with LG Artist Management on a tour throughout Spain. He recently portrayed the Imperial Commissioner in G. Puccini's "Madama Butterfly" with the production of the Catalonia Opera Foundation. He has also made his debut as Baron Douphol in the opera "La traviata" and as Dancairo in the opera "Carmen" at the Palau de la Música Catalana.


    TENOR

    LOW

    SOPRANOS

    MEZZOSOPRANOS

    BALLET

    Photograph courtesy of Carmen Lorente, an active dancer in the sixties in Barcelona

    TECHNICAL AND ARTISTIC TEAM

    • Montse MIralles - Costume designer, costumes and props

      She works primarily in theater, television, film, and dubbing.

      She also works as a teacher and director of various shows, especially musicals and operas.

      She combines her work as an actress with her collaboration as a designer and costume manager for the family company Rafató Teatre.

      She has studied with Carlo Gandolfo, John Strasberg, James de Paul, Dominique de Fazio, Bob MacAndrew, Eduardo Daulte.

      Diction and verse with: Esteve Polls and Salvador Oliva. Meisner Technique with Javier Galito-Cava. Camera Masterclass (Luis Gimeno, Carlos Manzanares, Carmen Utrilla, and Laura Caballero).

      Voice, singing, and music at the Liceu Conservatory, Alfons Miró, Lídia González, Hellen Gallagher, Paul Farrington (Voice Craft), Cristine Adaire (Met. Linklater), Coralina Colom.


      In theater, she has been seen in Witness for the Prosecution (Teatre del Raval), The Midsummer Night's Dream (Nau Ivanow), The Tale of Mr. Esteve (T. Romea), Fiddler on the Roof (Madrid and Barcelona), The Lady in Love (T. LLiure), In the Burning Darkness (Mexico, Israel, Madrid, Barcelona), Under the Milky Wood, The Increase (Grec and Teatreneu), Branch of the Sea (TNC), Lady Windermere's Fan (TNC).


      In film and television: Heirs of the Earth, Tros, Acacias 38, Cuéntame, As if it were yesterday, Cites, Red Band Society, Operation Malaya, Aquí no hay quien viva, Hospital Central, Porca Miseria, Vent del Pla, De moda, Transfuga, La Mary, Labyrinth of Shadows, Maki Navaja, La moños, De professió API, All Fake, Prêt-à-Porter, You Judge, The Tale of Mr. Esteve, The Cry of Women, The Mustache of Babel, A Personal History, The Imaginary Planet, Dr. Caparrós, Sinister Sect, Sexual Inclination Naked, Street Dogs II, Patricia's Wet Dreams, Playing Parents, The Bingueros, What a Mess I've Gotten Into.


      She regularly works in dubbing as an actress, director, and dialogue adapter. She also lends her voice to commercials and advertising campaigns


      She has also designed the costumes for La Traviata and The Magic Flute for OPDB.


    SOON

  • season 2023/24

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