Written in: Apr 30, 2014


It will be celebrated in the places where Saint Teresa founded convents: Avila (1562), Medina del Campo (1567), Malagón, Valladolid (1568), Toledo, Pastrana (1569), Salamanca (1570), Alba de Tormes (1571), Segovia (1574), Beas, Seville (1575), Caravaca (1576), Villanueva de la Jara, Palencia (1580), Soria (1581), Granada and Burgos (1582).

It will be a deep reflection about the ultimate meaning of the existence and its mystic transcendence, together with a program inspired in the Spaniard poets and musicians from the Renaissance, that will be executed by important formations and lyrical singers, and that will have the following provisional contest:

Vivo sin vivir en mí

Concert where a deep reflection about the ultimate sense of the existence and its mystic transcendence is proposed, together with Spanish poets and musicians form the Renaissance.

-The resurrection of Christ

The idea of writing this oratory surged from the concept of spread the contemporary consonant music through the churches. Something that is very common in many European cities,but no so usual in our country. The most part of the current sacred music is of a coral character, and the idea was to use an additional instrumentation. That’s why we chose a soprano and a quartet of cord. One of the masterpieces of the sacred music is The last seven words of Christ in the Cross by Joseph Haydn (1732-1809). The resurrection of Christbegins exactly when the opus of Haydn finishes.

Cantando al amor en los tiempos de Santa Teresa

The program Cantando al amor en los tiempos de Santa Teresa illustrates the concept of lover sing collected in the Anthology of the Palace for the time of Saint Teresa. A pure love, the ideal both in the profane poetry as in Saint Teresa’s. It also collects some examples of works composed from the poems of Saint Teresa.

-Saint Teresa, música y mística: encrucijada vital

The program “Santa Teresa, música y mística: encrucijada vital” contains works of Tomás Luis de Vitoria, Carlos José Fernández Martínez.

-Concierto con instrumentos originales o copias adaptadas

Concert with original instruments or adapted copies to each time and style, as well as with some interpretative criteria of historic character that will help to be closer of the music in its essence, the way it was conceived by his authors. This doesn’t have an archeological finality, but purely artistic, because, the more close we are from the author, with more energy we can express the emotions and affects that he has transmitted us.



Why a flamenco spectacle to Saint Teresa de Jesús?

Tireless source of poetic mystic, of Teresa de Cepeda y Ahumada we all remember a simple image: the one that in front of her drew Fray Juan de la Misericordia. Beautiful woman, even more when she prayed, as her confessor Francisco de Ribera described, she was of an oval face, little hands and black eyes that commonly contented with a simple look.

Saint Teresa attributes to a divine origin her strong and alive mystic experiences, calling them “reinforcement of virtues”, as the humility and the service to God and the fellow man. Her writing in an oration mode, for excellence of relation and communication with God, and a extensive and majestic mystic and literary life, inspire me to the infinite to create a “Flamenco” spectacle to a Saint nun that called her impersonal method of praying with a term that in the world of the flamenco we use normally and with big respect: “retreat".

All this wonderful work is more than enough inspiration for a cast of flamenco artist to express in the scene all his recognition, admiration and respect to such insigne personality. A simple staging with projections undercurrent will bring us to the beautiful places she walked.

We want, through the flamenco, to deepen in the life and work of one of the most impressive and indescribable pillars of our artistic and spiritual history.