Duato fell in love with the music of Debussy a long time ago, especially how the composer transforms the sound of nature into music. When he listens to his music, Duato visualises forms, not people, relationships or events. Therefore, he considers Duende to be an almost sculptural work: a body, a movement in harmony with the melody.
In a fun way, the ballet also delves into the ways of expressing the different meanings of the word it takes its title from: having duende could be considered to mean having personal charm, or magic in the art of flamenco; and duendes (goblins or elves) as we encounter them in children's stories or in the imagination of superstitious people, have a rather different character.
At the beginning of the 20th century, Debussy was a new composer, and the audience found themselves listening to sounds that were surprisingly different. As strange, beautiful, and magical as they should have been, these sounds have made their complex cultural roots identifiable. Debussy's music reveals classical and romantic precursors, as well as connections with secular music, folklore, Arabic, eastern and Slavic cultures, and even jazz.
CREDITS:
Choreography: Nacho Duato
Music: Claude Debussy (Pastorale and Finale from the Sonata for Flute, Viola and Harp (1916); Syrinx (1912/1913), Danse Sacrée et Danse Profane (1904)
Costume designs: Susan Unger
Set design: Walter Nobbe
Light design: Nicolás Fischtel (A.A.I.)
Length: 23'40''
Global premières: Premiered by the Nederland’s Dans Theatre at the AT&T Danstheater, The Hague (The Netherlands), on 21 November 1991.
Distributor: YSARCA Art Promotions-Pilar de Yzaguirre