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Cautiva. Nacho Duato


  • Cautiva. Nacho Duato Choreography: Nacho Duato
  • Music:  Alberto Iglesias (Cautiva)
  • Sets and costumes: Nacho Duato
  • Light Design: Nicolás Fischtel
  • World premiere by Compañía Nacional de Danza at the Teatro Madrid, April 12th, 1993

Cautiva is an original piece for Compañía Nacional de Danza by its Artistic Director, Nacho Duato, with music by the Basque composer Alberto Iglesias. This passionate music inspires and gives its name to the ballet, which, in a definitely oneiric language, and through a series of confronted images, tells us the story of Cautiva. The concept is conveyed by the main female character, her doubts and her continuous  strruggle with a world of fantasy, love and death.
“I composed Cautiva with the feeling that the main idea of the work was an emotive, irrational one, which derived in multiple meanings. Joyce´s and Pound´s texts, which I counterposed, as if they were speaking to each other from a stage for these feelings, a stage of love, not just two characters telling their stories. They glide along with the music, getting lost and meeting again constantly. The power of the unreasonable, of the dark side of reason, is something essential to music. Maybe it is there that music and dance go together and make us tremble.”
Alberto Iglesias

Cero Sobre Cero. Nacho Duato


Cero sobre Cero. Nacho Duato
  • Choreography: Nacho Duato
  • Music: Alberto Iglesias
  • Settings: Nacho Duato
  • Costumes: Nacho Duato in collaboration with Ismael Aznar
  • Light Design: Nicolás Fischtel
  • World premiere by Compañía Nacional de Danza at Palacio de Festivales de Cantabria, in Santander, November 17th, 1995.
  • Cero sobre cero is Nacho Duato`s latest creation and the third collaboration between this choreographer and the Basque musician Alberto Iglesias. Both Duato and Iglesiasseem to have found a way of mutual understanding in which both creators’ works go through parallel lines to finally merge, as if music and movement had always been one.

    In Cero sobre cero, ideas, words and gestures disintegrate to shape other meanings that diverge from their original intention. Duato wishes to underline the crisis which artistic values are undergoing in our society. There is also a strong intention to reflect the wild consumerism which is taking root in  society, as well as its consequences on art. Everything is disposable, nothing lasts. Only the present, immediate pleasure is important; therefore, reflection does not even take place. 

    Those are hard conditions for creative activity. This instability causes a showdown that generates violent, even destructive attitudes. However, although this could be seen as a pessimistic view of the future, it is not at all. There is still a hope of communication with that which represents purity. This may be the pillar on which to build all constructive efforts towards renewal.

Cobalto. Nacho Duato


Cobalto. Nacho Duato. Bailarinas: Mª Luisa Arias y Tereza Gonzaga
  • Choreography: Nacho Duato 
  • Music: Pedro Alcalde / Sergio Caballero (organ player: Juan de la Rubia; Blancafort organ at the Church of Collbató)
  • Sets: Nacho Duato 
  • Costumes: Lydia Delgado
  • Lighting Design: Brad Fields
  • Absolute premiere by the Compañía Nacional de Danza at the Teatro de la Zarzuela, on 20 March 2009.

Cobalto is a reflection on erotism. Duato approaches the subject from an oneiric point of view, submerging himself in the world of erotic dreams. The piece is created for ten dancers. Once more, Duato grants the music a primordial importance in his creations and, in Cobalto, he again resorts to his usual composers, Pedro Alcalde and Sergio Caballero. Cobalto is a piece composed for a single instrument, the organ.The music was recorded at the church of Collbató on a Blancafort organ, by the organ player Juan de la Rubia.  

Duato also has the lighting designer Brad Fields on his artistic team. He is the lighting director of the American Ballet Theater and a faithful collaborator in all his premieres for years. Another striking fist is the costume design by Lydia Delgado a fashion designer. 

"It is like a colour (blue) an energy, but it belongs to the negative side and in its supreme purity it is, as one would say, a precious nothingness. Its effect is a mixture of excitation and serenity."

Goethe. "Theory of colours."

Blue is holy and pornographic, prudish and obscene. It is used in the English expression “blues”, understood as sad, but it is also like "verde", green in Spanish, means erotic or obscene. Cobalt blue is the maximum example of that bipolarity. Beautiful, arrogant and celestial, it conceals its mineral origin known as “flower of cobalt”, a mixture of cobalt arsenide and nickel that form a crystal on contact with the air. Toxic and poisonous due to its arsenic, it was christened the elf-blue that tormented miners, with the German name by which we know it: kobelt. Cobalt blue is, of all the colours, that of the unconscious history.


Born in Barcelona, he studied piano, flute, violin and composition in his native city, in addition to graduating in Philosophy at the University of Barcelona. He studied orchestral conducting at Columbia University of New York, where he was awarded the Master of Arts. In 1984, he was the prize winner of the international competition for orchestra conductors held at Bad-Wiessee, Germany. That same year, he conducted Stravinsky’s A Soldier’s Tale at the Horace Mann Auditorium in New York. In 1988, he obtained his Doctorate in Musicology and Philosophy at the Freie Universität of Berlin. He then studied conducting at the Hochschule für Musik of Vienna with Professor Karl Österreicher. He worked as second conductor for the Vienna Opera. In 1990, he was assistant conductor at the Vienna Philharmonic and, from 1991 to 1996 of the Berlin Philharmonic with Claudio Abbado.

Pedro Alcalde has conducted numerous orchestras such as those of Madrid, Barcelona, Bologna, Ferrara, Rome, New York, Berlin, Frankfurt, Leipzig, Osaka, etc. In 1996, he began a series of experimental recordings at the Radio of Berlín (SFB) with the last piano sonatas by Beethoven and the last compositions for piano by Gyorgy Kurtág. He has performed works by key contemporary composers such as Sotelo, Goyette, Kurtág, Rihm or Nono. Works by Alberto Iglesias he has conducted, in addition to the ballet Self with choreography by Nacho Duato, have included the music to the film by John Malkovich, The Dancer Upstairs.

Since 1998, he has regularly collaborated as conductor with Duato and the Compañía Nacional de Danza; as composer, he has worked with Sergio Caballero to produce the music of the choreographies for Herrumbre (2004), Diecisiete (2005), Alas (2006) and Hevel (2007). 

Sergio Caballero


Born in Barcelona in 1985, he created the group Los Rinos with Marcel.lí Antúnez and Pau Nubiola, with which he performs actions, performances and theatre under a common name: the provocative, wild humour of impossible stories.

Music and multidisciplinary artist, in 1987 he founded the musical group Jumo with Enric Les Palau, with whom he composed pieces for dance and theatre. In 1989 he produced the exhibition Sergio Caballero famous worldwide, a reflection and scepticism, on authorship of the work of art. 

Since 1994, he has been the Co-Director of the International Festival of Advanced Music and Multimedia Art Sónar.

Lydia Delgado

Costume designer  

She was born in Barcelona. Her first contacts with the world of art go back to her youthful years as a ballerina at the Gran Teatro de Opera del Liceu. She entered the fashion world after a chance meeting with the designer Antonio Miró, with whom she collaborated for some time at his creative workshop before beginning her own career. In 1989, the designer opened her own atelier at calle Minerva in the city centre, an intimate setting with its own personality and reminiscences of haute couture. A short time later, she inaugurated her shop in Barcelona, coinciding with her 1991 fashion show presentation on the Pasarela Gaudí.

Her first collections are couture creations elaborated with patience and emotion, in which one may see a continual search for artistic expression.

In 1997, Lydia Delgado launched her pret a porter line on the market as a more affordable proposal, although without renouncing her commitment to careful, perfectionist work. Her garments suggest daring combinations that are not lacking in irony, that seek to provoke a different way of looking at oneself and reality. 

In 2000, Lydia presented her collection for brides, a striking, avant garde proposal, at the Royal Palace of Pedralbes. 

A year later, Pronovias entered into a licensing agreement with Lydia Delgado for worldwide distribution of the Lydia Delgado Brides collections. 

In 2004, Lydia Delgado inaugurated her shop in Madrid, in the central Salamanca neighbourhood.

Lydia Delgado is now a consecrated figure on the national fashion scene. Her exclusive world has an distinguishable identity of its own, the result of personal perseverance to conserve her original values over the years: passion for quality, artistic creativity, visual strength, a weakness for details and elegance without ostentation. 

Prizes and recognitions:

  • Marie Claire fashion prize 2007
  • Antonio Gaudi Gold Medal 2003
  • European Citizen Prize2003
  • T de Telva for the best Spanish designer 2000
  • Entrepreneurial Woman prize (FIDEM) 1999
  • Silver T de Telva 1998 

Brad Fields

Lighting Designer

Born in North Carolina (USA), Brad Fields is a usual collaborator with Nacho Duato. He has created lighting designs for the Compañía Nacional de Danza to use in Alas, Arcangelo, Multiplicidad: Formas de Silencio y Vacío, Diecisiete, Sueños de Éter, Gilded Goldbergs, Herrumbre, Ofrenda de Sombras, Remanso,Without Words and Hevel. 

He is the Lighting Director of the American Ballet Theater for which he has created, among others, the lighting designs for Coppelia, La Fille Mal Gardée, Glow-Stop and Within You Without You: a tribute to George Harrison. 

Other past designs by him are the Don Quixote by Balanchine for the National Ballet of Canada and the Suzanne Farrel Ballet, Follia by Nicolo Fonte and Rite of Spring for the Göteborg Opera Ballet and the Bayadére by Natalia Makarova for the Australian Ballet. He has designed for the Ballet Argentina, Boston Ballet, Houston Ballet, Les Grands Ballets Canadiens, Lewitzky Dance Company, Ballet de la Ópera de Lyon, Netherlands Dance Theatre, North Carolina Dance Theatre, San Francisco Ballet, Royal Ballet and Royal Danish Ballet.

Coming Together. Nacho Duato


Coming Together. Nacho Duato. Dancer: Catherine Allard
  • Choreography: Nacho Duato
  • Music: Frederic Rzewski (Coming Together)
  • Sets and Costumes: Nacho Duato
  • Light Design: Nicolás Fischtel
  • World premiere by Compañía  Nacional de Danza at Teatro de la Zarzuela, Madrid, December 23th, 1991.

The turbulent repetition of musical structures and recited text from Frederic Rzewski’s frantic composition provides the accompaniment and counterpoint to an abstract work by Nacho Duato, who uses his effervescence both to bring us closer to frenzy and hysterics, and as a contrast in his creation of oniric atmospheres. Both phenomena appear alternately as well as simultaneously as could happen with the rhythms and sensations of a big city. 
The result, of an obvious contemporary style, forces the spectator to focus his attention on the multiple changes of the choreographic process as well as on the system and structure of steps, rather than on the ordinary descriptive and narrative elements.
Frederic Rzewski’s piece entitled Coming Together and Attica, written for narrator and instruments, to be performed ad libitum in two parts, is of crucial importance in the history of repetitive music and not only because of its obvious influence on later pieces. Here the repetitive techniques and structuring are not an end in themselves, but the means of creating a coherent musical, dramatic world. While this piece - just like Rzewski’s other works - makes use of improvisation and repetition, it is also a committed work both in the social and the political sense. Rzewski managed to combine the political, ideological meaning of the text and the musical structure into a homogeneous whole by means of an original “minimal” idea.
The eight sentences from a letter by Sam Melville (a political prisoner killed in the 1971 Attica prison riots) are first narrated in an additive then in a deductive progression. The title of the piece is a reference to a sentence of the letter and to the technique of musical improvisation.

Concierto Madrigal. Nacho Duato


Concierto Madrigal. Nacho Duato
  • Choreography: Nacho Duato 
  • Music: Joaquín Rodrigo 
  • Sets: Walter Nobbe 
  • Costumes: Nacho Duato
  • Light Design: Edward Effron
  • World premiered by Compañía Nacional de Danza at the Teatro Romea, Murcia, October 6, 1990.
Concierto Madrigal was the first choreography created by Nacho Duato for Compañía Nacional de Danza. The music used for this ballet is the Concierto Madrigal for two guitars and orchestra by the Spanish composer Joaquín Rodrigo. This composition has inspired Nacho Duato to make a choreographical illustration of eight of the ten short movements of which the concerto consists. As a matter of fact, Duato has followed the concerto's musical guideline to reflect, with eight pairs of dancers -distributed in pas de deux, pas de trois, solo, pas de six ..., a succession of splendid scenes within an intimist context. The dominating atmosphere of the choreography suggests landscapes which are typically Spanish. On his part, Joaquín Rodrigo has based his work on an anonymous Spanish madrigal dating back to the Renaissance period, titled Felices ojos míos. 
The composer has made the following comment on his work: "This concerto has freed itself of the classical melodic architectures and, the established dialogue and the concerto style adopted in its composition notwithstanding, it resembles more a suite, even though the supporting element is the variation. Each of the variations or episodes are described by their respective titles, which give a score is characterized by a delicate poetical sketch. Occasionally, and due to the theme's origin, the episodes are of a modal or archaic nature; in other episodes, the melody acting as a filament all through the work is inundated by a more popular feeling". Nacho Duato's interest and tendency to use his roots is a constantly recurring feature of his work. The music, the popular feeling, the colour of the land, are values employed by Duato to establish, in his own style, a mutual relationship between all the elements, where the movement merges with the environment that has been created. In Concierto Madrigal, far from basing himself on a specific line of argument, Nacho Duato has let himself become envelopped by the colour of nature, allowing us to discover a poetical feeling: the song of the people.



    • Auditions. Jardín Infinito. Nacho Duato

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