Bertolt Brecht and Kurt Weill conceived The Threepenny Opera in a specific context, Victorian London, and in a determined physical space, the underbelly of Soho, inhabited by traitors, murderers, prostitutes, and exploiters. The versions we have known among us — Mario Gas's, premiered at the Romea Theatre in 1984, and Calixto Bieito's, premiered precisely at the Grec Festival in 2002 — varied the context but maintained the physical space. Above all, they maintained the characteristics that define the characters (from stage presence to costume) and the brutality of the capitalist society they describe and satirize.

There is a desire to play in the mischievous gaze of the Galician stage director Marta Pazos. More than provoking, she seeks to surprise. "Laughter originates in the unexpected," she recalls at a press conference regarding the new production of Le nozze di Figaro (1786), the first masterpiece by the tandem formed by Mozart and the poet Lorenzo Da Ponte. The production, directed by Pazos and with Giovanni Antonini leading the orchestra, will have fourteen performances from June 4 to 21. "I am having a great time in this production by Marta that surprised us so much at first," assures the soprano from El Montsià, Sara Blanch, Susanna in a first cast shared with the Italian bass-baritone Luca Pisaroni (Figaro), the Russian soprano Julia Lezhneva (Cherubino), the Italian baritone Andrè Schuen (Count Almaviva), and the Guatemalan soprano Adriana González (Countess Almaviva), among others. "I have sung the role of Figaro many times, and I have found a very fresh production, with a very new approach," exclaims Pisaroni, who is performing in substitution of baritone Konstantin Krimmel, who is out due to a foot injury. Everyone agrees: they are having a lot of fun. "And I hope it will be a success," says Schuen, who is finally debuting at the Liceu in an operatic role after having given many lied recitals around the country. after having given many lied recitals around the country.