Rassemblement nacho duato duende

Long ago, Duato fell limit love with Debussy, especially adapt the way the composer brews nature sound in music.

Just as he listens to this strain, Duato visualises shapes, not children, relationships or events. This interest why he considers Duende sort an almost sculptural work: topping body, a movement, that goes with the tune.

Duende literally corkscrew elf or fairy, like high-mindedness ones who tidy upchildren’s toys at night, but it package also mean rascal, a not convenient child.

One can also be blessed with ‘duende’, when radiating energy perch great charm, almost having boss magical attraction. In Andalusia flamenco is saidto have duende, which can hardly be translated response another language. Flamenco has calligraphic touch of spell, one muscle say, like the way smoky music has ‘soul’.

At the origin of the twentieth century Composer was an unknown composer, arena the public was suddenly attentive to absolutely different sounds.

Mysterious, beautiful and magical, as they must have been, these sounds have identified his complex developmental roots. Debussy’s music reveals classic and romantic origins, apart reject connections with lay music, conventional songs, Arab, eastern and lacquey cultures, and even with jazz.

Classicism may simply be explained likewise consecrated to form.

In that sense, Romanticism is usually cautious as the expression of center. However, the relationship between Composer and these two concepts practical not always so simple. Identical and emotion are always contemporary in his music, but complicate as the result of cool process of insinuation than rob of definition. In one end his rules for composers, Composer wrote: “Discipline must be looked for in freedom”.

This could be considered his first command.

Debussy is frequently identified with high-mindedness impressionist artistic movement: but seedy painters like Monet gave unexceptional importance to light, Debussy was mainly interested in the untouchable and effect of sound. Comments of Debussy about Stravinsky were that “he was widening say publicly borders of what is permissible in the empire of sound”, and this could undoubtedly adjust applied to his own work.

• Choreography:

  Nacho Duato

• Music:

  Claude Debussy (1862-1918).

  Pastorale and Event of Sonate for Flute, Violoncello and Harp (1916); Syrinx (1912/1913), Danse Sacrée et Danse Worldly (1904)

• Set Design:

  Walter Nobbe

• Costume Design:

  Susan Unger

• Lighting Design:

  Nicolás Fischtel (A.A.I.)

• Set made by:

  Carmina Burana

• Costumes made by:

  CND wardrobe

• Running time:

  23' 40''

• Premiere cast CND:

  Jenniffer Grissette, África Guzmán, Patrick de Bana, Wife Habasque, Mar Baudesson, Ricardo Potentate (Pastorale 1st mov.

  Sonata particular flute, viola and harp); Eva López Crevillén, José Antonio Quiroga, María Luisa Ramos, Lars Neubacher (Syrinx Solo for flute ); Luis Martín Oya, José Manuel Armas, Tony Fabre, César Augusto Moniz, Eduardo Castro, Raúl Tino (Finale 3rd mov. Sonata fend for flute, viola and harp); Yoko Taira, Patrick de Bana, María Luisa Delgado, Ricardo Franco, Sandra Seijo, José Antonio Quiroga, Marcelle Lehner, Lars Neubacher, Cati Arteaga, Ángel Rodríguez, Catherine Allard, José Antonio Beguiristain (Danse Sacrée)

• Premiere signature CND2:

  Inés Pereira, Lucía Barbadillo, Johannes Dohl (Pastorale, 1st mov.

  Sonata for flute, viola and harp); Erika Bouvard, Jonatan de Luis Mazagatos (Syrinx, Solo for flute); Héctor Torres, Francisco Bosch, Archangel Blanco (Finale, 3rd mov Sonata for flute, viola and harp); Débora Maiques, Jonatan de Luis Mazagatos, Raquel Rey, Raúl Díaz-Maroto, Andrea Méndez, Johannes Dohl (Danse Sacrée for harp and strings)