Jaume Aragall, the tenor from the Ribera of Barcelona admires the work of Joan Gardy Artigas, the potter who covered Joan Miró’s naked structure “Dona y Ocell” with colour. On his part, the creator of the golden and ochre drop visible in front of La Caixa’s black building on the Diagonal, professes admiration for one of the world’s most beautiful voices.
In this meeting, they join talents to paint the Gran Teatre del Liceu, starting with the orchestra pit. The demanding public of Barcelona, which has seen him in over one hundred performances, adores this crystal-voiced tenor from the moment he stepped on the stage in 1964 with an unforgettable “Bohème”. A deluge of pamphlets were thrown the day he was passed over for an award: “They have the Asturias; you have our hearts”.
Aragall praised the dimensions of the coliseum, its brilliant decor and unbeatable acoustics. The potter draws the orchestra - except for the cymbals - and the singer enlarges the “Casa Tribó”, the prompter’s box, with affection. Then, there goes the score that fills the painting with musical sound. “What a shame, if only it was “La Bohème”…”, he swallows a sigh: ever since that time in the Liceu, not a single performance of Puccini’s work of the 400 he has already represented has been incapable of touching him to tears. When the house brand, the Liceu’s initial, shines on the stage drop, the artist covers the painting with Miró-like musical notes or twisted nails for Aragall to find and hide up his sleeve like treasured talismans.