La Vanguardia

A journey through the imaginary of Jaume Plensa in the Macbeth opera

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With Jaume Plensa as artistic director, Verdi’s opera Macbeth premieres on February 16 at the Gran Teatre del Liceu in Barcelona.

This was already announced by Richard Wagner when he coined the term “Gesamtkunstwerk”, referring to opera as a total work of art that integrates the six arts: painting, sculpture, music, poetry, dance and architecture.

The Wagnerian ideal seeks a fusion between all the participatory elements of opera, as Jaume Plensa, known for his multifaceted artistic vision, has done. The Catalan artist has taken on the challenge of directing the stage production of the opera Gran Teatre del Liceu in Barcelona.

Verdi’s well-known opera premieres this February 16 under the direction of Josep Pons, with a powerful aesthetic and ritual presence of Jaume Plensa. Inspired by Shakespeare’s Macbeth, the artist confesses that “it is one of the most profound and interesting reflections on duality between body and soul, between abstraction and matter“.

Plensa affirms that “it is one of Shakespeare’s most mental plays, because we have all been Macbeth, Lady Macbeth and other characters in the play at one time or another“, which is addressed “to the deepest sense of the human being“. All in all, for Plensa, Macbeth represents a deeply introspective theatrical work that resonates with the universal human experience. He explains that each character in the play is a representation of diverse aspects of the human being, inviting the viewer to explore his or her own psyche through the operatic narrative.

“I wanted to make a completely mental opera, to see in each scene moments that are like us, we have all been characters in the piece at one time or another“. Through the costumes, with most costumes out of his time, working on the choreography with Antonio Ruiz and lighting with Urs Schönebaum, Jaume Plensa aims to bring the viewer a more spiritual vision of the work, capturing in the best possible way the journey through the imaginary characteristic of the sculptor. His goal is to take the viewer on a spiritual journey through the rich imaginary that characterizes his work as a sculptor.

Image of white, black, red and gold colored figurines
Image of white, black, red and silver colored figurines

Macbeth art direction mock-up

The opera has an exquisite cast formed by Luca Salsi, Željko Lučić, Erwin Schrott, Simón Orfila, Ekaterina Semenchuk, Alexandrina Pendatchanska, Gemma Coma-Alabert, Francesco Pio Galasso, Celso Albelo, Fabian Lara and David Lagares. With special enthusiasm, we will meet again with Sondra Radvanovsky, soprano who plays Lady Macbeth and of whom we remember her visit to ARCO Madrid 2021 on the occasion of the presentation of the poster of the Castell de Peralada Festival.

Photograph of four men and a woman smiling at the camera posing in front of a painting

From left to right, Oriol Aguilà, director of the Festival Castell de Peralada; Joan Matabosch, artistic director of the Teatro Real; Carlos Álvarez, baritone; Sondra Radvanovsky, soprano; and artist Jordi Bernadó, posing with one of his works exhibited at ARCO Madrid 2021.

Image of white, black and red figurines
Photograph of Jaume Plensa seated on a chair with a microphone in hand

Jaume Plensa selected works:

Jaume Plensa – Bartók
Jaume Plensa Tears
Jaume Plensa – SLUMBERLAND III

Jaume Plensa’s doors are installed at the Liceu in Barcelona

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Jaume Plensa‘s stainless steel sculptural doors stand majestically at the entrance to the Gran Teatre del Liceu, marking a new era for this iconic coliseum on Barcelona’s Ramblas. Although their final installation is still in progress, passersby can already glimpse the magnificence of these monumental structures, each weighing half a ton.

On Tuesday, onlookers witnessed how the three imposing trellises designed by the acclaimed Catalan artist, who has closely supervised every stage of this ambitious project, will look. As the September opening date approaches, coinciding with the expected return of activity at the Liceu, these works of art will be temporarily covered with a tarp, further heightening anticipation among citizens and art lovers alike.

Image of the facade of the Liceu's steel doors

Christened with the evocative name of “Constel·lacions“, these doors represent much more than simple architectural elements. They are a tribute to the Liceu itself, to the music that has filled its halls over the years, to the emblematic grilles designed by Gaudí and to the nearby legacy of Miró, whose mosaic adorns the nearby Pla de l’Os.

But beyond their aesthetic value, the doors also have a practical function: to preserve the safety and integrity of the surrounding space. By preventing people from taking refuge in the arcade at night, these works of art play a crucial role in protecting the environment, as Víctor García de Gomar, artistic director of the Liceu, pointed out in a previous statement. “Sometimes we find ourselves in hell. It is necessary to protect this space so as not to be complicit in things that happen here, from people shooting heroin, people who want to sleep, situations like rape and prostitution“.

Plensa‘s art not only beautifies the Liceu, but also serves as a reminder of the diversity and cultural richness that defines Barcelona’s Ramblas. Made with alphabet letters from diverse cultures, these doors are a symbol of inclusion and respect for the plurality that characterizes this emblematic artery of the city.

In the midst of controversy and discussion about the fate of public space, Plensa‘s doors represent a balance between aesthetics and functionality, between artistic expression and practical necessity. With their placement, it is hoped that the Liceu will not only be a place of artistic excellence, but also a safe and welcoming refuge for all who visit it.

Interior image of the doors of the Liceu

Excerpt from El Periódico and La Vanguardia

The new sculptural doors for the Liceu on its 175th anniversary by Jaume Plensa

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The doors that the Catalan artist Jaume Plensa has designed for the entrance of the Gran Teatre del Liceu in Barcelona in homage to music, Antoni Gaudí, Joan Miró and the “diversity” of Las Ramblas in Barcelona, join the celebration of the 175th anniversary of the inauguration of the Liceu.

Plensa said that with the lobby doors he wanted to pay homage to Gaudí’s grilles and Miró’s constellations, which is why he has named them “Constel·lacions“, as well as to the “artery of diversity” of Barcelona, which for him is Las Ramblas. “Constel·lacions” will be installed in the three arcades of the main entrance of the theater and will be integrated without affecting other elements previously incorporated into the facade of Oriol Mestres of 1874 and recovered in 2019.

Photograph of the facade of the Gran Teatre del Liceu in Barcelona

Jaume Plensa’s doors to be incorporated at the entrance of the Liceu

Plensa stressed that the doors are a conglomerate of letters that grow, with the color of moonlight, and remarked that humanity is marked by language, and therefore, in his creation, he wanted to show “alphabets of many cultures“.

“You already know my world of texts and alphabets. I like to mix different cultures because I think we are very good when we are together, keeping our individuality and small differences, but how good we are when we are together! And I think these doors are a tribute to diversity, even more so in Las Ramblas, which is the artery of diversity in Barcelona“.

Jaume Plensa

Despite admitting that he hates doors, as well as everything that closes, the artist has remarked that the more he sees the design the more he likes it – the doors will open vertically – and believes that they have been a success. In addition, he has remarked that they will also serve to “dignify the area” in what he has defined as a gift from the Liceu to the city and become the new face of the theater. Asked if he fears that the doors may be damaged, he said that it will provide a finish that supports very well the restoration without complications.

These are “quite light” pieces, in the artist’s words, weighing some 500 kilograms each and with a thickness of 1 centimeter of steel, which gives them rigidity and lightness at the same time. The president of the Liceu, Salvador Alemany, and the theater’s artistic director, Víctor García de Gomar, are confident that the doors will be installed at the start of the 2022-2023 season, towards the end of September. They have cost about 750,000 euros – Plensa has not wanted to collect his fees -, of which 50% is assumed by ACS Foundation, 35% through Feder funds and the remaining 15% by the theater, as reported by Europa Press.

Excerpt from El Mundo

Image of the model of the doors of the Gran Teatre del Liceu in Barcelona

The model of Plensa’s work for the Liceu | Photograph by FERRAN NADEU

“The doors presented two extraordinary challenges” adds Plensa. “One is the building itself, which everyone says is horrifying, but I think that when horror accumulates, it ends up being wonderful. I wouldn’t touch a comma of this building. I love the chandeliers at the entrance. And the second is that we are looking at an extraordinary work by Miró on Las Ramblas that I think has strongly marked many things in the city, including the tragic moment of the attack in the city, which ended right in front of the building“.

“In these «Constel·lacions» I wanted to pay tribute to the Liceu, to music, but also to think of an architect who has given us many days of glory in the city, Gaudí, and I chose the title precisely because of this world of Miró’s constellations, who is the one I especially want to pay tribute to” he added.

Excerpt from La Vanguardia

Photograph of Jaume Plensa with his model of the doors of the Gran Teatre del Liceu in Barcelona.

Plensa, with the model of his work for the Liceu | Photograph by FERRAN NADEU

Jaume Plensa – ALCHIMISTES I
Jaume Plensa – SLUMBERLAND II
Jaume Plensa – Verdi