Bolero-Medea

The shapes, movements and lines of this choreography caress the notes once composed by Ravel, blending the purest classical Spanish style with the essence of flamenco dance. The Art Nouveau-inspired set, featuring mirrors that reflect the beautiful silhouettes draped in silk of vibrant hues, contrasts with the austerity of the leather in the men’s costume.

Bolero (Teatro de la Zarzuela, Madrid, 1988)

The muleteer is an eternal traveller, a wanderer who traverses the roads, leaving the imprint of his passage behind. He carries not only loads, but also stories, scents and memories, immersing himself in the traditions and unique character of every place he passes through. In this constant coming and going, in this communion with the road and the land, he finds the true meaning of his existence.

Eduardo Martínez

Medea, a sorceress and enchantress descended from the sun, betrays her father and her people, murders her brother and helps the Greek adventurer Jason steal the Golden Fleece. She loves him and flees with him.

Jason and Medea live in Corinth with their two children, where the ageing King Creon reigns with his beautiful and only daughter, Creusa. King Creon offers his young daughter to Jason, who accepts her and repudiates Medea.

For Medea, a barbarian woman consumed by jealousy, there can be no justice, only a descent into frenzied revenge.

Medea’s long night begins.

Embrujo (Medea, Teatro de la Zarzuela, 1999)