Sis Solos Soles

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PreviousOctober 2022
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Six brand new operas sung in 6 different parts of the opera house by 6 different women


A young woman steps into a bathtub and slowly sinks into the water for what may be her last bath; a mature female singer, avid for beauty, finds happiness only in the contents of a miserable refrigerator; an old woman fights against the inevitable by refusing to be taken into a home; a girl anxiously awaiting a phone call is afraid to leave the house lest she is left without network coverage; a young Danae, with a knife hidden in her clothes, returns to the basement where her father abused her; and a teenage YouTuber tells her followers that this is her last message before the end of the world.


SIS SOLOS SOLES is a New and Pocket Opera project which unites six monodramas for female voice and instrumentalist into a single performance. It was commissioned from six different librettist-composer teams.  While exploring the bowels of a theatre, the audience discovers, through a sort of intimate confession, the tales underlying the different voices which are trapped in their respective home environments.

Program and cast

Singers: Maria Dolors Aldea, Elena Copons, Maria Hinojosa, Marta Fiol, Elena Tarrats and Lidia Vinyes-Curtis
    

Musicians: Joel Bardolet, Marc Charles, José Antonio Domené, Mario G. Cortizo and Àlex Rodríguez Flaqué

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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