Antonio Najarro, recently honored as the first Spanish choreographer to win the “Best International Choreographer 2024” award from the Hispanic Organization of Latin Actors, gave HOLA! a glimpse into his latest milestone: the groundbreaking choreography for Ainadamar at The Metropolitan Opera. The production is bringing Spanish culture right into the heart of New York City, the epicenter of global arts and culture. Through his choreography, Najarro isn’t just celebrating flamenco—he’s channeling the artistic soul of Spain onto one of the world’s most revered stages.
Ainadamar offers a profound exploration of the life and legacy of iconic Spanish poet Federico García Lorca. For Antonio Najarro, it is a deeply personal project that intertwines his Spanish roots with his passion for dance. Collaborating with renowned Argentine composer Osvaldo Golijov, Najarro masterfully weaves together the raw emotional power of flamenco with the majestic grandeur of opera, creating a fusion that honors Lorca’s enduring impact while showcasing the depth of Spanish cultural expression.
“My role is to bring the real Spanish dance. Not just the steps, but the real flamenco soul.”
Antonio Najarro in the NY Times
His choreography adds a dynamic layer to this already powerful story, infusing it with the emotion and intensity of flamenco. Moreover, his role in this production at the Met marks a significant moment for Spanish dance, elevating it to new heights and expanding its reach on the international stage.
Argentinian composer Osvaldo Golijov’s Grammy-winning opera tells the story of poet and playwright Federico García Lorca
Antonio’s collaboration with Brazilian choreographer Deborah Colker has also been pivotal to the success of Ainadamar. Their shared vision of blending the essence of flamenco with other dance forms has redefined what’s possible in opera. With Ainadamar, Antonio is not only showcasing Spanish dance but also forging a bold new path for contemporary opera, where movement becomes a universal language of expression
“Taking Spanish dance around the world is my passion, but choreographing for the ultimate temple of lyric art, The Met Opera in New York, is turning into an unforgettable experience.Thank you, life, for offering me opportunities like these.
Antonio Najarro
HOLA! Interview with Antonio Najarro
Congratulations on winning ‘Best International Choreographer 2024’ in New York! As the first Spanish choreographer to receive this honor, alongside artists like Alfonso Cuarón and Antonio Banderas, how does it feel, and how do you think it will help promote Spanish dance internationally?
I am very happy and grateful to have received this award.
To be recognized as one of the best international choreographers specialized in Spanish dance is an acknowledgment that not only elevates my work but also highlights the entire field of Spanish dance. This greatly helps in giving visibility to my sector.
You’ve worked in so many areas, from the Spanish National Ballet, figure skating, television, and even for Disney movies. How has this diverse experience prepared you to choreograph for an opera like “Ainadamar” at the New York Metropolitan Opera?
I am a choreographer with a very open mind. I love mixing Spanish dance with other musical and dance styles and taking Spanish dance to places where it has never been before. Collaborating with fashion, films, photography, sports, and more, has given me the broad perspective needed to undertake projects like Ainadamar.
Bringing flamenco to an opera like Ainadamar, and the Metropolitan Opera in New York, you need to have a very open mind and a deep understanding of opera staging. You need to ensure that all the artists involved in the opera present their soul with an authentic Spanish and Flamenco spirit.
Daniela Mack as Federico García Lorca, Flamenco dancer Sonia Olla, and Angel Blue as Margarita Xirgu in a scene from Golijov’s Ainadamar
What was it like collaborating with Deborah Colker, the renowned Brazilian dance legend? How did you approach blending her unique style with the essence of flamenco, and was it a smooth process to bring these two worlds together?
Deborah and I met each other in Madrid when she came to see one of my rehearsals while I was directing the Spanish National Ballet, and she was fascinated by my work.
We are both very versatile artists with a broad vision of the dance world. For me, it has been very easy to merge my style with hers, and she has given me complete freedom to choreograph the flamenco sections of the show, which has made the result very satisfying for me.
“Ainadamar” touches on important moments in Spanish history and the life of Federico García Lorca. How has working on such a culturally significant project, tied to your roots, impacted your artistic vision and approach to choreography for this production?
The life and work of Federico García Lorca is continuously being showcased in my country through theater, dance, and performing arts in general.
In fact, I am currently choreographing my dance company’s new show, inspired by Federico García Lorca’s poems.
I have been studying his life and work for many years, and I found it very rewarding to present it in such a different context as the opera Ainadamar.
I believe the essence of his spirit is perfectly reflected in this opera, and his work is beautifully captured in many details of the work and in the emotion that Ainadamar radiates.
Working with a composer like Osvaldo Golijov, who blends his Argentinian heritage with classical training, must be fascinating. How has his musical perspective shaped your choreography for this opera?
In Spanish dance and flamenco worlds, music and rhythm are incredibly important.
The music composed by Osvaldo Golijov is absolutely descriptive, and the flamenco passages within it are perfect for me to choreograph.
In this music, you can hear flamenco rhythms like “seguirillas” and “soleá.” These rhythms are fused with the symphony orchestra, incorporating typical flamenco instruments such as the “cajón” and flamenco guitar, as well as the wonderful flamenco voice of the “cantaor,” Alfredo Tejada.
It’s true that Osvaldo has a very different vision compared to a traditional flamenco composer, and that deeply inspires me to create new movements and discover new ways of expressing flamenco.
Watch composer Osvaldo Golijov, librettist David Henry Hwang and director Deborah Colke talk about their work in Ainadamar:
The making of Ainadamar – credit: The Metropolitan Opera
As someone who has worked across various artistic mediums, how do you see the role of dance evolving in opera productions, particularly in works that blend traditional and contemporary elements like “Ainadamar”?
I believe that dance is increasingly presented in opera. I think it is wise for opera to incorporate this discipline because it adds another dimension. In the case of Ainadamar, I feel that what truly makes this opera unique is that all the artists dance, from the lead singers to the chorus, and, of course, the dancers.
Dance is the language of the soul, and I think all artists should dance, regardless of their discipline. I’m sure that after this, contemporary opera will rely more on dance to elevate both the quality and the message of the works.
“A privilege to be part of this great production that showcases flamenco for the first time in this grand temple of opera!”
Antonio Najarro
Antonio shares his experience and process in Ainadamar:
Video credit: The Metropolitan Opera/Antonio Najarro
Ainadamar is on stage through November 9th. Mezzo-soprano Daniela Mack stars as Federico García Lorca, opposite soprano Angel Joy Blue as Margarita Xirgu, Lorca’s muse. Ainadamar is conducted by Miguel Harth-Bedoya, who is making his Met debut. To book your tickets and more info please visit The Metropolitan Opera’s website.
© Marty Sohl / Met Opera
© Marty Sohl / Met Opera
