La Calisto

Since its recovery in 1970, after having fallen almost totally into oblivion during centuries, La Calisto has come to be one of the inalienable works within the wave of recuperation of baroque opera repertory. This reconstruction is particularity interesting – with regard to other operas of the same period – since many documents have been conserved from its première.


We know, for example, that the original production was very sophisticated, with seven changes of scene, numerous special effects and a very complex system of machinery. Such was the degree of substantial resources assigned to a work that was to delve (in a most irreverent manner) into the relationships between the gods and human beings; that the audience of that time must have been blushing and short of breath throughout. Not in vain does the story that drinks from the Metamorphosis de Ovid, evolve around the love of Giove for the beautiful nymph Calisto, who rejects him in her masculine form in order to later succumb to his courtship when he disguises himself as the goddess Diana. Francesco Cavalli makes good use of a libretto that also includes amusing subordinate plots and which inspired him to compose very original and lyrical music.

Program and cast

Musical director: 
Ivor Bolton    (Mar. 17, 19, 20, 21, 23, 24, 25)    
Christopher Moulds    (Mar. 18, 26)    

Stage director: David Alden    
Set designer: Paul Steinberg    
Costume designer: Buki Shiff    
Lighting designer: Pat Collins    
Choreographer: Beate Vollack    


La Natura / Satirino / Le furie: Dominique Visse    
L’Eternità / Giunone: Karina Gauvin    (Mar. 17, 19, 21, 23, 25, 26)    
Rachel Kelly    (Mar. 18, 20, 24)    
Il Destino / Diana / Le furie: Monica Bacelli    (Mar. 17, 19, 21, 23, 25, 26)    
Teresa Iervolino    (Mar. 18, 20, 24)    
Giove: Luca Tittoto    (Mar. 17, 19, 21, 23, 25, 26)    
Wolfgang Schwaiger    (Mar. 18, 20, 24)    
Mercurio: Nikolay Borchev    (Mar. 17, 19, 21, 23, 25, 26)    
Borja Quiza    (Mar. 18, 20, 24)    
Calisto: Louise Alder    (Mar. 17, 19, 21, 23, 25)    
Anna Devin    (Mar. 18, 20, 24, 26)    
Endimione: Tim Mead    (Mar. 17, 19, 21, 23, 25, 26)    
Xavier Sabata    (Mar. 18, 20, 24)    
Linfea: Guy de Mey    (Mar. 17, 19, 21, 23, 25, 26)    
Francisco Vas    (Mar. 18, 20, 24)    
Pane: Ed Lyon    (Mar. 17, 19, 21, 23, 25, 26)    
Juan Sancho    (Mar. 18, 20, 24)    
Silvano: Andrea Mastroni    


Production by the Bayerische Staatsoper of Munich
Orquesta Barroca de Sevilla

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March 2019

Royal Theatre

Regarded as one of the most important cultural institutions in Spain, the Teatro Real reopened on 11 October 1997 and has become an internationally acclaimed opera house which showcases leading voices and state-of-the art productions.  


The Teatro Real is Spain's leading opera house. It is considered to be the top institution in the country in the music and performing arts field.
The Teatro Real Foundation is chaired by the King and Queen of Spain. It relies on two public administrations that took part in its creation: the Ministry of Education, Culture and Sport, and the Comunidad de Madrid (Regional Government of Madrid). The Foundation is governed by a Board of 31 trustees. The Board of Trustees elects the President of the Board and the Executive Commission as proposed by the Ministry of Education, Culture and Sport. The Foundation is a public entity and there is an important role played by civil society in its governance and sponsorship
The objective of the Teatro Real is to create a venue for the most talented singers, conductors and stage directors from around the world. Its artistic mission is expressed in programming which seeks excellence by combining classical and contemporary lyrical repertory to appeal to audiences of all ages and interests. Introducing young people and children to opera is of particular concern. All this, along with the Principal Chorus and Orchestra of the Teatro Real, the most up to date technological expertise and the large number of in house productions on stages around the world has firmly positioned the Teatro Real in Spain and abroad.
The Teatro Real abides by a self-governing, permanent and professional management style, in accordance with  the most important national cultural institutions.

The Teatro Real is located in front of the Royal Palace, between the two plazas, or squares, of Plaza de Isabel II and Plaza de Oriente, and right next to the famous Café de Oriente. It stands where the old theatre of Los Caños del Peral once stood. Los Caños del Peral was built in 1708 and was pulled down when almost a ruin in 1818 to make way for the new Teatro Real.

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