Spain Coll, Enemigo del Pueblo: Chorus and Orchestra of Teatro Real / Christian Karlsen (conductor). Teatro Real, Madrid, 13.2.2026. (JMI)
If I am not mistaken, this is the second opera by Valencian composer Francisco Coll, following his first one, Kafka, which I have not had the opportunity to see. Enemigo del Pueblo premiered at the Palau de Les Arts last November and was co-commissioned by Valencia’s Palau de les Arts.
The 90-minute opera is based on a play by Henrik Ibsen, An Enemy of the People, and it boasts an excellent libretto by Àlex Rigola. The script is powerful, offering an important debate between two fundamental aspects of village life: health and economic interests. The story takes place in a village that exists on the success of the spa waters until Doctor Stockmann (the opera protagonist) discovers that the waters are contaminated. Faced with the risk of the village’s economic collapse, the citizens, spurred on by the mayor (the spa doctor’s brother), declare the doctor an ‘Enemigo del Pueblo’. Only his daughter, Petra, remains by his side.
While the opera possesses great dramatic power and relevance, I find Francisco Coll’s music more uneven. Inspired and highly lyrical moments exist, particularly in the finale with a duet between the doctor and his daughter, but there are other moments where the rather noisy modern music is less convincing.
The production that was premiered last November in Valencia has now arrived in Madrid. The direction is by librettist Àlex Rigola, and there is basically one set. The opera takes place on a kind of dune with mounds, and in the background there is what could be the sea and the sky, sometimes clear and other times overcast. The characters are well-defined, and the actors are well-directed, which makes for an engaging production.
The musical direction was in the hands of Swedish conductor Christian Karlsen, who was leading this opera for the first time – the premiere in Valencia had been conducted by the composer himself. Karlsen’s conducting was noteworthy, and he carried the score forward without ever losing tension. Furthermore, he showed great consideration for the soloists’ voices, which were always treated with care. It is clear that he is a maestro who is accustomed to modern opera (and especially to works by Kaija Saariaho).
The protagonist of the opera, the spa’s Doctor Stockmann, was sung by baritone José Antonio López, who offered a pleasant and powerful voice as well as a consistently good stage presence. His brother, the mayor, was sung by tenor Moisés Marín, whose voice wasn’t particularly appealing and who had to contend with the extremely difficult tessitura presented by the score. His performance was good, and he always remained believable.
Soprano Brenda Rae was an admirable Petra, the doctor’s daughter, but she also had to contend with very the difficult tessitura of her part in the first act. Her heartfelt rendition of the final duet with her father was particularly noteworthy. The supporting roles were all cast well. These included baritone Isaac Galán as Mario, the journalist, and mezzo-soprano Marta Fontanals-Simmons as Marta, the businesswoman.
José M. Irurzun
Featured Image: Teatro Real’s Enemigo del Pueblo © J. Del Real
Production:
Director and Libretto – Álex Rigola
Sets – Patricia Albizu
Costumes – Patricia Albizu
Lighting – Carlos Marquerie
Videos – Álvaro Luna
Chorus master – José Luis Basso
Cast:
Doctor – José Antonio López
Alcalde – Moisés Marín
Petra – Brenda Rae
Mario – Isaac Galán
Marta – Marta Fontanals-Simmons
Morten – Juan Goberna