An opera as Zimmermanns would have imagined it in 1957: in a totally immersive way, 360º.
While returning to his country, a poor soldier walks with his violin. He finds himself with the Devil, who offers him to change the instrument for a magic book with which he can make a fortune.
The war of the water.
Before this universe of degeneration and nightmare, Joan of Arc is still able to illuminate with her purity.
Can he work this miracle in a society that does not believe in the power of faith?
A balancing reconciliation between Haydn and the DNA.
In the nineteenth century and now. The city as a space of survival. A tribute to lost youth.
War. Deceit. Love.
An apocalyptic scenario. The world government under President Ruler has not been able to prevent the exploitation and step-by-step destruction of the Earth. A specific utopia. A chance at surviving in outer space.
The wicked deceitful tongue of a terrible adversary of mine, easily achieved to annoy your holiness
A long and exhausting war of trenches where wanders a ghostly human landscape.
Word, Fire, Magic and Sand
Conceived as an impossible accumulation of questions and answers, this staging materializes in the form of a black box: the great enigma, in fact, modern metaphor of the human mind.
Music is particularly aware of this potency, directly targeting human senses and emotions. The new music theater production by La Fura dels Baus tells of the siren’s call in an unreal fantasy world, just as theatre naturally conjures up time and again.
Return the legend and the realism of this opera to the public through a few emotions that have been transformed since the time of Wagner, preserving the romantic feeling of the absolute as the composer saw in the sea.
Blood is gushing forth in the barrack square. Elektra is biding her time.
The stage is transformed in a laboratory where a group of researchers works on building a computer, a metaphor of the human brain and the complexity of thought.
The company’s first incursion into the world of opera. The stage cantata La Atlántida, by Manuel de Falla, was representing using a completely innovative dramaturgy and staging, created in collaboration with Jaume Plensa.
Debussy composed this unique opera for a libretto by D’Annunzio that tells the story of St. Sebastian’s unique journey to martyrdom. La Fura staged this “symbolic musical mystery”, re-elaborating, also symbolically, the images originally suggested by the text.
This staging of the opera by Hector Berlioz, for the Salzburg Festival, established La Fura’s prestige in international opera circles and was the company’s second take on the Faustian myth.
DQ was specially composed to debut in Barcelona’s Gran Teatre del Liceu de Barcelona and brought together creative minds such as José Luis Turina, Justo Navarro, Enric Miralles, Bennedetta Tagliabue and La Fura dels Baus. A futuristic revisitation of the literary myth par excellence: Don Quixote.
In 1937, shortly prior Hitler’s rise to power, Ernst Jünger wrote this story that many understood as an allegory of the arrival of totalitarianism. In the opera staged by La Fura dels Baus, maintains the key points of the text using a radically new language.
This staging of Berlioz’s most famous symphony offered three level of simultaneous action: in the foreground, the orchestra; the projects at the back of the set; and the actors, who occupied the stage’s least typical spaces.
Conceived and developed by La Fura dels Baus and Jaume Plensa, this staging of Mozart’s classic—one of the world’s best-known operas—explores the piece’s dream aspects in an attempt to employ all types of art.
Una puesta en escena intimista y evocadora de una de las obras más reveladoras de Janacek, estrenada en la Opera Garnier de París junto con El Castillo de Barbazul de Hector Berlioz
Released in conjunction with “Diary of a missing person”, this work, one of the most unique by Béla Bartók, perfectly portrays the solitude of the inside, the castle we all carry inside
A suicidal degradation of nature by a technical man’s hands.
The most popular opera of the tetralogy Der Ring des Nibelungen. Carlus Padrissa is the scenic director, and winner of 7 international awards, among them Franco Abbiati Prize Musicale Italiana della Critica or ICMA-International Classical Music Awards 2011 -made by critics from 10 countries- is probably the closest to the
La Fura dels Baus received a commission to stage the first opera conceived and produced entirely in the Canary Islands, with music by Juan José Falcón Sanabria and libretto by Guillermo García-Alcalde. The challenge lay in successfully combining a radically modern composition with a classic libretto.
The third opera in Wagner’s epic Ring cycle, Siegfried stands on its own as great spectacle, masterful storytelling, and electrifying music.
The conniving dwarf Mime has raised the naïve and fearless boy Siegfried in hopes that he will obtain the all-powerful ring and turn it over to him. But with the help of a mysterious Wanderer—the
A singular staging for a singular opera. With music by Ligeti and libretto by Ghelderode, Le grand macabre has the carnal body as the thread that runs through this extraordinary tragicomedy, where laughter is the only magical spell to conjure up the fear of death.
La Fura dels Baus has to Wagner all the wisdom gained. This time the results have exceeded expectations. “Wagner fits well into our philosophy, said Padrissa today would understand the Tetralogy of two ways: predation suicidal in nature, and the man’s identity crisis mediatised”.
“The Trojans are viruses that enter into our operating system, destroying all the information” well defined Carlus Padrissa scenic director of Hector Berlioz’s opera based on Virgil’s Aeneid, foundational work of the Roman Empire.
In Tannhäuser is also useful struggle between art – Academy, custom, consumer-clan commitment and visionary art that feeds only its own need. And there’s also the violent confrontation between a regulated company or obedient to their codes, which can not be violated without serious consequences for the social body, and
Stockhausen’s Sonntag Aus Licht (Sunday of light) is the seventh day of the “Light cycle” devoted to the days of the week. La Fura dels Baus has designed this cosmogonic opera as a fantastic ceremonial, different times and stages as the duality between flesh and spirit.
Oresteia is a carrier of the most horrible suffering, while destroying the logic of individual and confronts the man with the anxious and fear limitlessness, but also the greatest pleasure.
Friendship, alchemy and the chance will modify the course of the desires of the antagonists turning them into protagonists. The idea of the love into his purer form and the obliged coat of the moon that lovers use, forces us to think about the contemporaneousness of the romantic ideology.
250 years after Gluck’s reformed and laid the foundations of classical opera, it’s time perhaps to take another step forward: the orchestra playing, moving and acting on stage. The Orfeo lyre will be, for our views, like a giant lyre made by 40 musicians as if they were one of
There is an abyss opened in front of us, mere finite human beings, when we admit that there exists an elastic and elliptical time which defies the notion we have of the temporality of the world that surrounds us.
In 2046 Europe is completely under Chinese rule. More than 30 years, China had rescued Europe from a financial crisis by buying up the debt, the ownership and natural resources. China is now the new world power. Turandot, the princess of ice control, as “Big Brother” every European, in order
As a way to overcome the curse upon the house of Agamemnon. Death finds rest in the roots of the tree and in turn the life explodes in its branches.
This is about seeing the bright lines that give off the sound waves produced by the symphonic orchestra and about reinterpret, at the same time, the ideas that passed through the head of Respighi while composing the three great scores. Music and light, motion and pictures. A correspondences game between
Music and theatre, a show of senses, vital and energetic that is aimed at a new audience, from music lovers to fans of the performance arts. More information is available on the official website.
Parsifal is certainly a work that has been dissected, which has attracted intellectuals, hated and loved. But it still remains an enigma. The contact points with The Birth of Tragedy Nietzsche are several, born of the same historical context and both question the most sacred principle of modernity: the dogma
Two short pieces of dodecaphony joined in one program. An objective: penetrating into the human mind. This is a possible dialogue between Arnold Schoenberg, the creator of twelve-tone music, and his first Italian disciple, Luigi Dallapiccola. In Erwartung a woman desperate search for her lover in the woods in an
The Myth of Samson could be currently a metaphor of the clipping that has been cut the welfare state prisoner of its debt. Samson have lost his long hair, Dalila has cut it of their materialists passions and have gouged his eyes with which he could look at the millions
The first Verdi stage direction of Àlex Ollé is set in the near future. Inspired by George Orwell’s 1984, one can imagine the worst possible landscapes. The current economic crisis has caused the collapse of society we know it today. Power has closed in itself, in a form of a
To celebrate the centenary of l’Arena di Verona and on the occasion of the birth of Giuseppe Verdi, La Fura dels Baus opens “Centanario Festival 2013”. Padrissa Carlus Alex Ollé and sign their version of Aida, opera par excellence of the Arena.
Keeping the names of the main characters of the novel Les Liaisons dangereuses, Heiner Müller wrote a version of this work to talk about control, manipulation, power and the distance from the decadent aristocracy from the world surrounding it.
This is a contemporary stage direction, away from the concept of the superiority of the white man, that wants to recover the initial essence of the opera, plunging into the naivety of the young protagonist in love.