January promises to be an intense month in classical and opera offerings. While the BCN Clàssics cycle begins in 2024 with Evgeny Kissin on the piano (8th) and Ibercamera proposes an Aranjuez Concert by the Hungarian National Orchestra and guitarist Ana Vidovi? (24th), the Palau Grans Veus has Javier Camarena (10th). ). And at the Liceu, Calixto Bieito’s Carmen is revived and reunites, on the 11th, in a recital with two voices from the future: Freddie De Tommaso and Lise Davidsen (this Saturday she also sings the Dance of the Seven Veils, by Salomé, at the Royal Theatre). Thus begins in Barcelona a year marked by the unilateral withdrawal of Jonas Kaufmann from the Liceu’s Adriana Lecouvreur, but with stellar presences, such as Gustavo Dudamel and the Los Angeles Philharmonic, doing a double in the city.

The Norwegian soprano, named best female singer of the year at the International Opera Awards, competes in vocal luminosity with the tenor of the moment, Freddie De Tommaso, another thunder of voice who is called to star in Graham Vick’s Ballo in maschera (in February in the Liceu) and to make one forget the absence of Kaufmann in the Adriana Lecouvreur in June, with Roberto Alagna in the alternative cast. She, very Wagnerian, will be heard in the first act of The Valkyrie (June 27) as Sieglinde while the world awaits her debut as Brünnhilde or Isolde.

The comprehensive collection of string quartets by the Russian composer by the deans of the genre, based in Barcelona. A feat with which the Casals also commemorate the 25 years of L’Auditori.

The Greco-Russian conductor arrives at L’Auditori within the Ibercamera cycle with a Mozart Requiem that will be performed with his orchestra, the first Russian group to tour Spain (last May) since the start of the war.

After displaying his anger at a singer in August, maestro John Eliot Gardiner canceled all performances until Christmas. This spring he reappears at the Palau with Händel’s Israel in Egypt and his Monteverdi Choir

With his unique stamp, the cult theater director reads Händel’s oratorio in the key of a spiritual journey rather than a religious experience. The staging of the Mozartwoche in Salzburg where it premiered in 2020 is based on the German version of 1789 arranged by Mozart.

Expectation before the unstoppable and young baton who fascinates the London classical scene and who will lead the OBC in Guinjoan, Chopin (with Yulianna Avdeeva on piano) and Rachmaninov.

The Liceu and the Palau go all out by bringing not only the already expensive Venezuelan director but also his Californian orchestra. The first two days, with an innovative semi-scenic proposal by Fidelio, Beethoven’s opera, created for deaf and hearing audiences (the Deaf West Theater of Los Angeles and the Manos Blancas Choir of El Sistema of Venezuela collaborate). On the last day they move to the Palau with Dvorák’s New World Symphony and the Violin Concerto that the Mexican Gabriela Ortiz composed for them and that María Dueñas premiered. The prominent Granada native will also play it at the Palau.