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World premiere by the Ballet Nacional de España on 7th July 2021 at the Teatro de la Zarzuela in Madrid (Spain).
The choreography Rubén Olmo has created for La Bella Otero draws on a range of dance styles which, filtered through his own personal dance language, bring the events of each scene in the script closer to the audience. The production ranges from a muñeira rooted in Galician folklore in the pilgrimage scene to contemporary and conceptual dance in Rasputin’s trial; from a zapateado reminiscent of the musicals of Fred Astaire and Ginger Rodgers during Otero’s successful world tour to traditional Spanish dance in the performance of Bizet’s opera Carmen, which marks the protagonist’s destiny.
As the story unfolds across such a wide variety of settings and countries, the work paints a rich historical panorama of the styles prevalent at the end of the 19th century. Rubén Olmo has created his own interpretation of dances contemporary with the protagonist, such as the cancan of Parisian cabarets, the dancing of Loïe Fuller, the ethereal pioneer of modern dance, and the flamenco performed in the cafés cantantes of the period, the forerunners of today’s flamenco tablaos.
The production also includes two of the numbers that made La Bella Otero famous: the bulería, which she danced dressed as a bullfighter accompanied by ten guitarists, and the erotic dance with Arab and Indian influences with which she captivated audiences while wearing the jewels given to her by her lovers.
Direction and choreography: Rubén Olmo
Musical Direction: Manuel Busto
Music: Manuel Busto, Alejandro Cruz, Agustín Diassera, Rarefolk, Diego Losada, Víctor Márquez, Enrique Bermúdez and Pau Vallet
Dramaturgy: Gregor Acuña-Pohl
Set Design: Eduardo Moreno
Costume Design: Yaiza Pinillos
Lighting Design: Juan Gómez-Cornejo
Sound Design: Luis Castro
Costumes: Cornejo
Footwear: Gallardo
Props: Beatriz Nieto
Hair and wigs: Carmela Cristóbal
Make-up Design: Otilia Ortiz
Orquesta de la Comunidad de Madrid (ORCAM) and flamenco musicians from the Ballet Nacional de España
Guest Musicians: Alejandro Cruz, Agustín Diassera and David ‘Chupete’
Guest Artist: Patricia Guerrero
Special Collaboration: Maribel Gallardo
Special thanks to Carmen Solís
FIRST PART
Prologue
An elderly Carolina Otero summons memories of her years of fame and glory in an empty theatre to the rhythm of castanets. The sound of bagpipes transports her back to the Galicia of her childhood and to the innocent young woman she once was. The two Carolinas dance together in a rhythmic ritual that connects the present with her past.
Pilgrimage and Lament
Some of the men from the village discover Conainas beside Carolina’s motionless body and chase him as he flees. The priest tenderly takes in the helpless, injured young woman. A family of basket-makers appears to the sound of tambourines and guitars, attracting Carolina’s attention. She becomes captivated by the young Paquito and by the joyful spirit of his family of travelling performers. When the priest tries to force her to go with him, she realises the hidden intentions behind his attentions and escapes with the family of performers.
The Basket-Makers
The family of basket-makers welcomes the young Carolina into their camp around the fire. The women teach her the secrets of their dances, which she uses to seduce her first lover, Paquito. A duke appears in search of a woman with whom to spend the night and takes a fancy to Carolina. In exchange for money, Paquito gives the Duke access to her favours. Carolina then discovers that he too has used her and decides that, from then on, she will be the one to use men. No longer believing in love, she leaves on the arm of the wealthy Duke, transformed into another woman.
Carmen
The Duke and Carolina Otero attend a performance of Bizet’s opera Carmen at the Liceu in Barcelona. Cigarette girls, soldiers and the three leading characters — Don José, the Bullfighter and Carmen — parade across the stage. Carolina is mesmerised by the beautiful gypsy woman, who manipulates men according to her whims. She has just discovered the female figure who will inspire her for the rest of her life.
Monte Carlo Casino
The Duke takes Carolina to the grand Casino de Monte-Carlo, where they encounter Prince Albert I and his dazzling lover, Émilienne d’Alençon. It is the first time Carolina has come into contact with a courtesan, who inspires her with the idea of following in her footsteps in a glamorous ascent to the very summit of high society. The two couples dance and gamble, sharing in the complicity of seduction and the pleasure of the game. Fortune favours Carolina, who wins a large sum of money at the roulette table.
Café Cantante
The Duke and Carolina visit a café cantante in Marseille. There they meet the American talent scout Ernest Jurgens, who has come to the café in search of a new star. On stage, the famous bailaora Manuela displays her artistry accompanied by a flamenco ensemble. As soon as she finishes, Carolina takes to the tablao and dances Canción del aire, by Joaquín Romero Murube. Manuela, annoyed by the unknown performer who has invaded her stage, confronts her, echoing the scene previously seen in the opera between Carmen and one of the cigarette girls. Jurgens decides to intervene, just as Don José does in the tobacco factory, but instead of arresting Carolina, he offers her a contract. She is immediately attracted to this new suitor and humiliates the Duke in spectacular fashion, just as Carmen did to Don José. Unlike in the opera, however, rather than trying to stab her to death, the Duke shoots himself after seeing Carolina and Jurgens leave arm in arm.
Star in the Making
Jurgens takes his promising young artist to a famous dance master who, after only a few lessons in style and elegance, transforms her into the perfect aspiring star. They dance and sing La mazurca de los paraguas together, a song from the recently premiered and acclaimed zarzuela El año pasado por agua, by Federico Chueca and Joaquín Valverde.
World Tour
Carolina embarks on a tour of the world’s cultural capitals, from New York to London, Brussels, Berlin and Moscow. In each of these cities, she meets a member of international royalty who presents her with the most precious and valuable jewels. Throughout the journey, Jurgens remains in the shadows like a resentful Pygmalion, reluctantly tolerating his protégée’s flirtations. When she finally leaves him for good, he shoots himself.
SECOND PART
Folies-Bergère
At the legendary cabaret of the Parisian Belle Époque, the dancers perform the famous cancan, while the innovative dancer Loïe Fuller, known for her ethereal fabrics, also takes to the stage. Maestro Bellini introduces the star of the moment: La Bella Otero. In her programme, inspired by the exoticism of Capricho andaluz, she performs her most famous number, the Bullfighter, dancing a bulería. She closes the show by dancing a zambra in the most expensive dress in the world, made from the jewels given to her by her royal admirers.
Queen of the Casino
Carolina and her troupe are the guests of honour at the Casino de Monte-Carlo. The glamorous celebration unfolds among roulette tables and dancing. Carolina gambles and gambles, and wins and wins. Banknotes and chips fly all around her. Prince Albert of Monaco lavishes attention on her, setting aside his own lover and leaving with La Bella Otero.
Belle Époque
On a Sunday morning, Parisian high society strolls through the Bois de Boulogne. Every wealthy and influential figure worth knowing makes an appearance dressed in their finest clothes. The women who attract the most attention are the three most famous coquettes of the day: Carolina, Émilienne d’Alençon and Liane de Pougy, known as ‘the Three Graces’. Among the crowd is Rayen, a former lover of Carolina’s, who tries unsuccessfully to attract her attention and win back her favour. Faced with La Bella’s repeated rejections and disdain, he kills himself in public, before everyone’s eyes. He is not the only man to suffer as a result of Carolina’s cold and distant attitude.
Birthday at Maxim’s
Leopold II of Belgium, Wilhelm II of Germany, Edward VII of England, Albert I of Monaco, Tsar Nicholas of Russia and the very young Alfonso XIII of Spain, who has yet to meet her, have gathered at the luxurious Parisian restaurant Maxim’s to throw La Bella Otero a surprise birthday party. Each performs a dance from his own country, and she rewards them with a sensual striptease that ends with her offering her body to the kings on a platter. She leaves with the young Alfonso to initiate him into the arts of love.
Virgin of Valga
The very same dress Carolina has removed at Maxim’s is given to the priest of Valga. He carefully places it over the frame of the Virgin while two local men discuss the famous Carolina Otero: “That one, the very woman who sleeps with the King of the French!”, as Valle-Inclán wrote in his play Divinas palabras.
Rasputin
Rasputin is the most mysterious figure and the one Carolina most desires. She met him alongside Tsar Nicholas during her tour of Russia. She attempts to seduce him, but he forces her to see reflected before her what she will one day become: a lonely old woman. The Russian mystic puts her on trial, acting as supreme judge and forcing her to confront her past life. Even so, determined to remain in the limelight, La Bella Otero produces her own version of Carmen and sings the Habanera as her own personal swan song.
Spectres of the Past
An elderly Carolina Otero enters the Casino for the final time, the temple of pleasure where she experienced her only two true passions: winning and losing at gambling. In a dance of ghosts and memories, the most important figures to have passed through her life begin to appear, together with the men who killed themselves because of her. The weight of her life bears down on her so heavily that she tries to gamble in order to avoid confronting her demons. But the croupier invites her to leave the casino, leaving her completely alone with her past.