Spain Massenet, Werther: Soloists, Cor Vivaldi – Little Singers of Catalonia (conductor: Pilar Paredes), Gran Teatre del Liceu Symphony Orchestra / Henrik Nanasi (conductor). Gran Teatre del Liceu, Barcelona, 10.5.2026. (JMI)
Werther was last performed at the Liceu in 2017, and the main attraction then was Piotr Beczała’s performance in the title role. The focus this time was on the debut of Spanish tenor Xabier Anduaga as Werther, and the occasion was notable, with some exceptional moments.
This is a co-production of La Scala in Milan and the Théâtre des Champs-Élysées in Paris and directed by Christof Loy. Prior information indicated that it had been well-received by critics and audiences, but that is a judgment that I do not share.
Johannes Leiacker’s stage design consists of a single set – a truly minimalist production. There is a large wall with a door leading into the house, and it serves as the setting for Bailly’s house, for a walk to the church service, for the return of Werther to Charlotte’s house and, finally, for Werther’s death.
The weakest part, in my opinion, comes in the final act. Werther’s death cries out for the presence on the stage of just Werther and Charlotte, who arrives at his house with a premonition of his impending death. But none of that happens here. Werther dies in Charlotte’s arms, but Albert is also on stage, reading Werther’s letters, and Sophie is there too, wandering and singing her only line outside, not inside. Thus, the death scene lacks dramatic feeling.
The musical direction was entrusted to Henrik Nanasi who, once again, led a superb performance from beginning to end. We are dealing with a conductor who is a true guarantee of quality, one whom you always want to see again. He got a great deal out of the Gran Teatre del Liceu Symphony Orchestra and was equally supported by a valiant children’s choir.
As I mentioned earlier, this was Xabier Anduaga’s debut in the character of Werther, and someone of my age cannot help but recall the great Alfredo Kraus’s interpretation. That memory is a handicap for any current Werther to overcome. Anduaga’s Werther had two different parts. In the first two acts, Anduaga was consistently brilliant with a voice perfectly suited to the role, although I missed a greater depth in his vocal interpretation. The second part, however, was magnificent in every way. ‘Pourquoi me réveiller’ was unsurpassed, and the audience’s enthusiasm led them to clamor for an encore which they received, and Anduaga was again superb. His performance in the death scene was also excellent, despite some strange and absurd presences. Anduaga is on the right track, and his Werther will only improve.
Mezzo-soprano Kristina Stanek as Charlotte was adequate in the role. Her voice is not especially beautiful, and her singing is not particularly moving. Suffice it to say, her great aria about Werther’s letters got 7 seconds of applause compared to the 96 seconds that Anduaga received for his Ossian aria.
Soprano Sofía Esparza did well as Sophie. She has a beautiful and well-controlled voice and was notable in her two arias. I believe she has a promising career ahead of her. Albert was sung by baritone David Oller who has an attractive lyric voice.
The supporting roles were handled well.
José M. Irurzun
Featured Image: Kristina Stanek (Charlotte) and Xabier Anduaga (Werther) © S. Panizo
Production:
Director – Christof Loy
Revival director – Silvia Aurea De Stefano
Sets – Johannes Leiacker
Costumes – Robby Duiveman
Lighting – Roland Edrich
Cast:
Werther – Xabier Anduaga
Charlotte – Kristina Stanek
Albert – David Oller
Sophie – Sofía Esparza
Bailly – Stefano Palatchi
Schmidt – Josep Fadó
Johann – Enric Martínez-Castignani
Bruhlmann – Cristòfol Romaguera
Katchen – Marta Esteban