BNE’s Medea in Madrid: A Fiery Flamenco Triumph

For Scottish performing arts devotees, summer usually means one thing: the massive, exhilarating onslaught of the Edinburgh International Festival and the Fringe. To properly prime my cultural palate this summer, I ventured abroad first. For years, I had been looking out for a chance to see the legendary Ballet Nacional de España live. So, when the stars aligned for a summer trip to Madrid, I deliberately anchored my entire itinerary around their strictly limited summer show between July 11th and 22nd.

The result was the ultimate artistic pleasure, so writes Alena Shmakova for theQR.co.uk…

Spanish Dance Innovation at Teatro de la Zarzuela

Firstly, stepping into Madrid’s historic Teatro de la Zarzuela feels like discovering a hidden gem on the capital’s map. A gorgeous, intimate jewel box of national heritage, the chamber-like setting concentrated the performance’s raw energy beautifully. The spectacular double bill offered a perfect artistic bridge, contrasting contemporary Spanish dance innovation with the timeless weight of classical myth.

The program opened with a vibrant contemporary flamenco suite set to Flamenco-Rock Andaluz. Infused with popular melodies, it struck an immediate chord with the local crowd—so much so that my neighbour couldn’t resist softly singing along. Even without knowing every lyric, the magnetism of the group choreography effortlessly kept the essence of traditional flamenco alive while pushing its boundaries. This fusion was visually echoed in the striking, all-black costumes, which ingeniously mixed the structured tulle of a traditional long ballet tutu with the fluid, flamboyant lines of flamenco skirts.

A Timeless Masterpiece of Flamenco Ballet

The program concluded with the evening’s undisputed masterpiece: the iconic Medea. Widely regarded as one of the finest theatrical flamenco ballets ever created, this emblematic work by Maestro José Granero originally premiered on July 13th, 1984, right here on the Zarzuela stage. Decades later, it stands as possibly the most performed and reinterpreted choreographic work in the history of Spanish dance. Its return felt incredibly timely, beautifully catching a fresh wave of cultural focus on Greek adaptations this summer, much like the buzz surrounding Odyssey.

In this heartrending, seamless production, Miguel Narros’s brilliant dramaturgy, based on Seneca’s tragedy, fuses seamlessly with Manolo Sanlúcar’s majestic score and Granero’s powerful choreography. Together, they chart a devastating path through love, betrayal, and revenge whose artistic value remains completely undiminished to this day. Set against a brilliantly minimalistic set, the production relied on dramatic lighting to sculpt its emotional landscapes, casting an eerie glow over Medea’s solitary witchcraft and illuminating her sensual, desperate duets with Jason.

The auditory landscape offered an epic symphonic escape, brought to life by the exquisite live guitar work of Alejandro Hurtado and Enrique Bermúdez. Their playing seamlessly married the intimacy of flamenco with the sweeping grandeur of a full orchestra, evoking the rich textures of the Concierto de Aranjuez (the full album score can actually be found on Spotify).

Fierce Passion and Unforgettable Performance

Yet, as striking as the staging and music were, it was truly the fantastic dancing that captured all my attention. In the titular role, Inmaculada Salomón was a tour de force. From the devastating moment she uncovers Jason’s betrayal and impending marriage, her performance was wild, deeply emotional, and fiercely passionate. The conflict between Salomón and Matías López, who danced Jason, reached its peak in their rhythmic confrontations. Their rapid-fire flamenco footwork functioned as a literal dialogue; the sharp, percussion-like cracking of their heels sounded exactly like a bitter, escalating argument, effortlessly conveying Jason’s shame and Medea’s consuming rage.

Particularly striking was Salomón’s expressive work with a wide and long cape and her wild, loose hair. The sweeping, elemental manipulation of the fabric and the untamed movement of her hair were deeply reminiscent of the free-flowing, tragic vocabulary pioneered by Isadora Duncan, stepping away from a typical traditional flamenco aesthetic. Here, the movement transformed Medea’s shattered vulnerability into a terrifying, supernatural armour, perfectly preparing the audience for the tragedy to come.

A Triumphant Cultural Legacy

Ultimately, it was a magnificent evening that proved traditional art forms are never merely museum pieces, but living, breathing expressions of human emotion capable of profound, visceral storytelling. The Ballet Nacional de España has successfully kept the fire of this 1984 masterpiece burning bright. And yet, as I prepare to head back to Scotland for the festival season, I am left with a hopeful wish: that one day we won’t necessarily have to travel all the way to Madrid to catch this brilliant spark. Perhaps, by sharing these cross-cultural triumphs, we might even inspire our own local traditional and contemporary dance scenes to embrace the same fearless, boundary-pushing passion.

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Flamenco-Rock-Andaluz / Medea will play at the Teatro de la Zarzuela until 22 July 2026. For tickets or more information, click here: https://entradasinaem.es/espectaculo/ballet-nacional-de-espana–triana-medea/TRIANAMEDEA26