Death, love, sin, and desire –the only possible symbioses between the aristocratic elite residing in the opulent mansions of Bonanova and the humble proletarian masses in the shanty towns of Montjuic– intertwine lustfully in the city to justify the ultimate workings of hell. Death, love, sin, and desire breathe life into the enamoured Orpheus, who labours to wrest life from death. He strives to revive a still-hungry generation that forgets the post-war years between the small boats of Barcelona harbour, while the weary, hoarse breath of an accordion plays a rumba in the background. 

Mimesis, the art of imitation, also means simulacrum, the eternal contradiction that allows feelings to be expressed theatrically. The scene harmoniously blends the neo-realist landscape into the melody. Barcelona evokes the essence of Bach counterpoint and transforms every stormy hell into a familiar, accessible essence. 

Eternity emerges from the intimate shocks hidden in Gluck score, making it familiar in memory. 

Orfeo ed Euridice de C. W. Gluck

Sad Rumba from Barcelona

Josep Miquel Mindàn, conductor
Jaume Villanueva, staging 
Miquel Villalba, choir conductor 
Chamber Orchestra Terrassa 48
Quim Térmens, concertino
Òpera Popular de Barcelona, stable company:
Caitlin Redding, Orfeo
Alba Martínez/Laura Gibert, Eurydice
Aseel Massoud, Love
Choir and ballet of the Popular Opera of Barcelona