Romeo Castellucci is interested in the construction of the image and its manipulation with a strong aesthetic and often political component. An imaginary where the most theatrical fits, as we have seen in Bros (Temporada Alta) and the trilogy on the Divine Comedy by Dante and On the Concept of Face, in the Son of God (Festival Grec), but also in performative installations such as Il terzo Reich (Temporada Alta) or this Believing in Masks. The Italian artist creates a sequence of objects that enter and leave the pristine white space of the museum-like air of the Raval room of the CCCB, surrounded by spectators masked with different human masks. They are objects of a certain quotidian nature (a glass of milk, a bouquet of flowers, a jug, a photograph of Stan Laurel, a crucifix...) which he names with names that have nothing to do with them, exhibiting an impossible logic, since the series is designed for the final appearance of an electric chair like those used in the executions of condemned to death and which, now yes, is called by its name: chair. A chair very similar to Andy Warhol's famous screen print that may or may not provoke the reaction of the attendees. From mere observation to its use and finally its figurative destruction. Forty minutes of a visual poem very typical of contemporary art.

The Polish thinker Władysław Tatarkiewicz wrote that the artistic work is a conscious human activity, capable of reproducing things, constructing forms or expressing an experience, with results that can delight, excite or shock. It is beyond doubt that every staging is an artistic act that reinterprets and visualizes a previous reality, be it literary, musical, visual or a mixture of the three. In this case, the always controversial Italian director Romeo Castellucci has made an interpretation of death and life as circular cycles from the Requiem and other works by Mozart linked more or less with a death that, for the musician and in accordance with a famous letter sent to his father, was "man's best and true friend."

The Polish thinker Władysław Tatarkiewicz wrote that the artistic work is a conscious human activity, capable of reproducing things, constructing forms or expressing an experience, with results that can delight, excite or shock. It is beyond doubt that every staging is an artistic act that reinterprets and visualizes a previous reality, be it literary, musical, visual or a mixture of the three. In this case, the always controversial Italian director Romeo Castellucci has made an interpretation of death and life as circular cycles from the Requiem and other works by Mozart linked more or less with a death that, for the musician and in accordance with a famous letter sent to his father, was "man's best and true friend."

A priori, everything points to it being one of the shows of the year: a musical masterpiece, the Requiem by Mozart; an extraordinary musical director, the Italian Giovanni Antonini, founder of Il Giardino Armonico; and a highly renowned stage creator, the also Italian Romeo Castellucci, which premieres at the Liceu. All of this with the Orchestra and Choir of the Gran Teatro del Liceu, where there will be seven performances, from February 18 to 26 (on the 17th there will be a concert version performance for those under 35 at the Sagrada Família, which will be recorded by the Arte channel).