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World premiere by the Ballet Nacional de España on 3rd October 2008 at the Teatro de la Zarzuela in Madrid (Spain).
Two continents, two cultures separated by the immense ocean. Spain longs to cross it, driven by the ambition for power and the glory of carrying its civilisation and beliefs across the seas and expanding its Empire. Mexico trembles at the thought that the prophecy of Quetzalcóatl might be fulfilled and that the Feathered Serpent might return in the form of Fair-Haired Gods, making its fears of the destruction of its culture and the end of its age of splendour a reality.
The dream of love is also born across the distance; they sense one another, long for one another and, without ever having met, know that they belong to each other. Every feeling of love entails sacrifice, pain and, sometimes, blood.
This story begins with the conquest of Granada, the birth of Alonso (the future Fair-Haired God of the conquest) and the expulsion of the Jews. At the same time, in the distant lands ruled by Moctezuma, a princess, Xuchitl, is born. From the moment of her initiation, the omens foretell that life will take her away from her roots to foreign lands. She will be protected and silently loved by Ixcauatzin, the boy who, during the birth ceremony, becomes her priest and protector by order of the king, the princess’s father. And so he will remain until the end of his days.
Power is almost always imposed by force, just as it is feared and hated by the vanquished. Yet out of horror emerge profound emotions, revealing fidelity and the sublimation of love. Much innocent blood is shed in its name, yet we accept or justify these events passively, concealing our own complicity.
El Corazón de Piedra Verde is a project I have dreamed of for 20 years, and I am deeply moved to finally bring it to life. During that time, my life has undergone a 180-degree transformation, and I believe this is reflected in the work. Things come when their time arrives and, of course, one must be prepared to face the challenge. My thanks to Salvador de Madariaga for this extraordinary and inspiring story.
I hope that hope and beauty will prevail over horror, and that each of us may find our own “heart of green stone”.
José Antonio
SYNOPSIS
During the conquest of Granada (Spain, 1492), a child, Alonso, is about to be born in the household of Don Rodrigo Manrique. He is a true embodiment of the Spain of the Three Cultures. His father, Don Rodrigo, is an Old Christian; his mother and grandmother are Jewish converts to Christianity, and his wet nurse is a Moorish slave. Meanwhile, on the other side of the Atlantic, at the palace of King Nezahualpilli (Mexico, 1492), we witness the birth of a girl, Xuchitl, and the ritual in which the adolescent Ixcauatzin must overcome three trials. He successfully completes the first two, but his failure in the third foretells the worst.
Ixcauatzin, who has been captivated by the princess from the moment he first sees her, is appointed by the king as the child’s guardian. At the same time, however, he must undergo punishment to atone for his failure during the ceremony. It is a blood punishment that Ixcauatzin transforms into an offering to the princess.
Years later, Alonso trains in the art of war, caught between two worlds: the feminine world represented by his mother, grandmother and wet nurse, and the masculine world represented by his father and his fellow soldiers.
Princess Xuchitl has also grown up and awakens confused by a strange dream: she has seen the face of the fair-haired god spoken of in the legends. Deeply affected, she tells her wet nurse about the dream as the woman dresses her to attend the New Fire ceremony, which marks the beginning of a new Aztec century every 52 years. Netzahualpilli, the Aztec King and Xuchitl’s father, then realises that the prophecies concerning the arrival of strange warriors — and, with them, the end of Aztec culture — are about to be fulfilled.
In Spain, Alonso’s life takes several unexpected turns and, as a result of adverse circumstances, he is eventually forced to flee with the troops embarking for America. Not far from their destination, the ship is caught in a terrible storm and sinks, taking most of those on board with it. Alonso alone manages, miraculously, to reach dry land. He is the foretold fair-haired god of the prophecies.
Choreography: José Antonio Ruiz
Music: José Nieto (original)
Costume design: Yvonne Blake
Set design: Ricardo Sánchez Cuerda
Libretto: José Antonio, José Carlos Plaza and José Nieto, based on a text by Salvador de Madariaga (pre-existing)
Lighting: Juan Gómez Cornejo
Music recording: Orquesta Andrés Segovia, conducted by José de Eusebio
Stage direction: José Antonio Ruiz
Adapted script: José Nieto and José Antonio
Stage combat master: Goyo Pastor
Video – direction and production: Héctor Gómez, Xavier Villaverde
Graphic design: Álvaro Monge, Mariluz Ruiz, Diego Cobo
Assistant costume designer: Anselmo Gervolés
Set construction: Mambo, Odeón
Costume production: Ángel Domingo, Espinoda, Martín Romero, Petra Porter, Peris and Pipa y Milagros
Armour production: Santa María Guarnicioneros
Aztec warrior masks: Pilar García and Pablo
Wigs and green-stone pendant: José Quetglás
Padded costume production: Javier Hernández
Props production: Isabel Patricio, Miguel A. Infante
Headpieces: Hortensia
Footwear: ArteFyL
Guest artists: Carlos Rodríguez and Primitivo Daza
ACT I
The Birth of Alonso. Spain, 1492
A messenger brings news of the conquest of Granada (Levanta Pascual). Only one woman does not join the jubilant crowd: Marien, a Moorish slave who laments the fate of Boabdil (¿Qué es de ti?). At the home of Don Rodrigo Manrique, a child is about to be born, a true embodiment of the Spain of the Three Cultures. His father, Don Rodrigo, is an Old Christian; his mother and grandmother are Jewish converts to Christianity; and his wet nurse is the Moorish slave we have already met.
The persecution and expulsion of the Jews. Alonso’s grandmother (Triste España).
The Birth of Xuchitl. Mexico, 1492
At the palace of King Nezahualpilli, we witness the birth of a girl and the ritual in which she will be given the name Xuchitl. An adolescent, Ixcauatzin, takes part in this ritual and must overcome three trials. He successfully completes the first two, but when he fails the third, clear signs of ill omen appear. Distraught, the boy tries again and succeeds. The bad omens disappear and the princess finally receives her name. Ixcauatzin, who has been captivated by the princess from the moment he first sees her, is appointed by the king as the child’s guardian. At the same time, however, he must undergo punishment to atone for his failure during the ceremony. It is a blood punishment that Ixcauatzin transforms into an offering to the princess.
Alonso’s Dream. Spain. Some Years Later
Alonso trains in the art of war, caught between his two worlds: the feminine world represented by his mother, grandmother and Moorish wet nurse, and the masculine world represented by his father and his fellow soldiers (Todos los bienes del mundo). When the training is over, his friend Antonio takes him to cool off by the river. There they are watched by Marta, who feels a powerful attraction towards Alonso. When he is left alone, she throws herself at him. During the struggle, Alonso loses consciousness and Marta flees. Feverish, Alonso suffers a strange nightmare in which he sees a young woman of extraordinary beauty whose image will remain deeply engraved in his mind.
The New Fire Ceremony. Mexico
Xuchitl too has grown up and awakens confused by a strange dream. She has seen the face of the fair-haired god spoken of in the legends. Deeply affected, she tells her wet nurse about the dream as the woman dresses her to attend the New Fire ceremony, held every 52 years to mark the beginning of a new Aztec century. Nezahualpilli arrives and warns that the prophecies concerning the arrival of strange warriors — and, with them, the end of Aztec culture — are about to be fulfilled. The ceremony begins, and Ixcauatzin is entrusted with carrying the new fire to King Nezahualpilli’s palace. When he reaches the palace, he dedicates his achievement to his impossible love, Princess Xuchitl.
The Convent. Spain
Alonso has made a radical change in his life: he has decided to enter a convent (Ermitaño quiero ser). There he falls under the tyranny of the dean, a friar nicknamed “the Wild Boar” because of his rough, aggressive nature and the terror he inspires among the novices. At dusk, Marta enters the chapel, now the “Wild Boar’s” concubine. The friar is waiting there for one of their amorous encounters. Alonso enters the chapel and discovers the lovers. In a fit of rage, the dean attacks him, forcing Alonso to fight for his life. During the struggle, Alonso ultimately kills him. Alonso’s life takes another turn and he flees, joining the troops embarking for America. Not far from their destination, the ship is caught in a terrible storm and sinks, taking most of those on board with it. Only Alonso, clinging to a piece of wreckage, miraculously manages to reach dry land.
ACT II
(The entire action takes place in Mexico.)
Prophecy
In his palace in Tenochtitlán, Moctezuma, obsessed with the predictions, is restless and agitated. Priests enter with a seer who reveals to the terrified king the arrival of warriors destined to bring his civilisation to an end. Overcome with panic, and after killing the seer, he orders Ixcauatzin to travel towards the coast in search of information about the fair-haired god spoken of in the prophecies. Immediately afterwards, drunk or drugged, he makes his way to Xuchitl’s chambers intending to possess her. His condition betrays him, however, and he begins to see shadows that he interprets as spirits protecting the princess. Terrified, he flees without achieving his aim.
Invasion
In a village near the coast, Alonso, imprisoned in a cage, awaits sacrifice at the hands of the indigenous people (A tierras ajenas). A large group approaches the cage intending to sacrifice him. Despite his resistance, he is on the verge of death when Ixcauatzin, invested with Moctezuma’s authority, stops the warriors. Ixcauatzin observes Alonso while his two companions make a portrait of the foreigner, which they immediately take to Tenochtitlán. Shortly after they leave, Hernán Cortés’s troops devastate the village. Ixcauatzin is saved from death by Alonso who, grateful to him, takes him as his companion and guide. The army continues its march towards Tenochtitlán.
Harassment
Moctezuma, extremely nervous, awaits the arrival of the emissaries. When they appear, they show the king Alonso’s portrait. Terrified, Moctezuma sees before him the likeness of the fair-haired god who will bring about the destruction of both himself and his civilisation. Beside himself, he orders Xuchitl to be brought before him and once again attempts to seduce her. Xuchitl rejects him and is sentenced to death.
Sacrifice
Outside the palace, the priests prepare to sacrifice the princess when something extraordinary stops them: Alonso has appeared above them, the very image of the prophecies. Alonso and Xuchitl finally meet, and this time it is no dream. Ixcauatzin, who has witnessed their meeting, is left alone. Without his beloved, his life no longer has any meaning. A procession approaches. They are bringing the divine youth, a special victim in the end-of-year rites, to be offered in sacrifice. Ixcauatzin stops the procession and exchanges his clothes for those of the young man, taking his place (¿Ika tlen ni yazki?). To the astonishment and excitement of the people, Ixcauatzin begins his ascent towards the sacrificial altar. When he reaches the highest point of the pyramid, he throws himself into the void at the very moment the volcano erupts.