Werther

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May 2026
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Werther – Jules Massenet

Lyric drama in four acts and five scenes.

Libretto by Édouard Blau, Paul Milliet, and Georges Hartmann based on the work Die Leiden des jungen Werthers by Johann Wolfgang von Goethe.

Approximate running time: 2 hours 40 minutes

 

Conformity and the norm of convention will be an impossible prison to overcome, and it will define their destiny in confronting personal tragedy and death as the only way out.

In 1774, The Sorrows of Young Werther was published, a novel with autobiographical traits by the then-unknown German writer Johann Wolfgang von Goethe, at the age of 25. It quickly became a milestone in universal literature. It is a work that belongs to the Romantic period and is one of the best examples of the Sturm und Drang movement. An epistolary work that tells the story of Werther, a passionate young man who writes letters to his friend Wilhelm about his obsessive love for Charlotte, who rejects him to marry another man because she promised her dying mother to do so.

 

The success of the novel, paradoxically, turned into a significant social problem, as in January 1775, a wave of love suicides inspired by the romantic hero began. These cases continued for several years and became a phenomenon that was later extensively studied and spread throughout Europe. Passionate about the intensity of the plot, Massenet began setting it to music in 1885.

 

Premiered in German at the Wiener Staatsoper in February 1892, the work had a moderate success. It wasn't until the performances in Geneva and Paris in its French version that it became established as one of the composer’s best works.

 

The role of Werther, due to its vocal difficulty, is often referred to as the "French Tristan"; and for Charlotte, it includes some of the most intense and dramatic pages in the entire repertoire. Xabier Anduaga (in his debut role) and Matthew Polenzani will alternate with the Charlottes of Isabel Leonard and Elina Garanča. These prodigious voices will immerse us in this score, which is nothing more than an intimate confession of contained feelings, inner expressions through a poignant and delicate melodic line and an elegant orchestral backdrop.

 

This new production, coming from La Scala in Milan and directed by Christof Loy, is centered on the interpersonal mechanisms and psychological aspects of the characters. With an intimate focus on the protagonists, it places them in an elegant and essential set design set in the 1950s, with a large horizontal wall that dominates the stage, enclosing the central characters’ actions and suffocating them in their deepest emotions. This wall divides the world of domestic intimacy, affection, and feelings (the family’s, to which Werther will never be able to enter) from the outside world. The starkness of the space adds an additional symbolic weight to the elements.

 

Conformity and the norm of convention will be an unbreakable prison, shaping their destiny and confronting them with personal tragedy and death as the only way out. Charlotte will arrive too late. Werther is already dying as she desperately declares her love for him. Outside, children sing of the birth of Jesus. An impressive contrast that will send shivers down your spine.

Program and cast

Werther - Xabier Anduaga | May 4, 7, 10, 14 and 17

Werther - Matthew Polenzani | May 2, 5, 8, 11 and 16 

Albert - David Oller | May 4, 7, 10, 14 and 17

Albert - Carlos Daza | May 2, 5, 8, 11 and 16

The mayor - Carlos Chausson

Schmidt - Josep Fadó

Johann - Javier Franco

Bruhlmann - Cristofol Romaguera

Charlotte - Kristina Stanek | May 4, 7, 10, 14 and 17

Charlotte - Elmina Hasan | May 2, 5, 8, 11 and 16

Sophie - Sofia Esparza | May 4, 7, 10, 14 and 17

Sophie - Leonor Bonilla | May 2, 5, 8, 11 and 16

Kathchen - Anna Tobella

 

Stage direction - Christof Loy

Revival - Silvia Aurea Di Stefano

Scenography - Johannes Leiacker

Costumes - Robby Duiveman

Lighting - Roland Edrich

Co-production Teatro alla Scala and Théâtre des Champs-Élysées

 

Cor Vivaldi - Little Singers of Catalonia

Pilar Paredes, conductor

 

Orchestra of the Gran Teatre del Liceu

Conductor: Henrik Nánási

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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