CARMEN.maquia | April 3-11, 2020 | Davidson Theatre

Act I: 46 Minutes | Intermission: 20 Minutes | Act II: 22 Minutes

CARMEN.maquia is a full-length ballet. A full-length ballet is one ballet with intermissions, similar to a book with chapters.

“Sansano’s emotionally fierce, intensely sensual, brilliantly danced and stunningly designed 75-minute work is riveting from start to finish…destined to become an instant classic.”
– Chicago Sun-Times

Choreographer: Gustavo Ramirez Sansano
Composer: Georges Bizet

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Why you’ll love this ballet

  • You will recognize the music
  • Dancer, Karen Wing named outstanding performer of the year for Carmen.maquia
  • A Contemporary ballet

Carmen.maquia Performances

Friday, April 3, 2020 (Senior Citizens Dress Rehearsal)
11:00 am, Davidson Theatre

Friday, April 3, 2020
8:00 pm, Davidson Theatre

Saturday, April 4, 2020
8:00 pm, Davidson Theatre

Sunday, April 5, 2020
2:00 pm, Davidson Theatre

Thursday, April 9, 2020
7:30 pm, Davidson Theatre

Friday, April 10, 2020
8:00 pm, Davidson Theatre

Saturday, April 11, 2020
8:00 pm, Davidson Theatre

Find out More!

Rehearsal Videos and Photos

Carmen.maquia performed by BalletMet Company Dancers

Choreographer Gustavo Ramirez Sansano on the making of ‘Carmen.maquia’

Carmen.maquia first premiered in Chicago in 2012 to rave reviews. It’s “emotionally fiece” and “riveting from start to finish,” wrote the Chicago Sun-Times. Read our blog to learn more about why Sansano used Cubism to inspire him, how he casts his Carmen and why he created the ballet in the first place.


The Story Behind the Ballet

Taking its cues from the 1845 novella by Prosper Merimee and the 1875 operaby Georges Bizet, Carmen.maquia weaves the drama filled story of Carmen, a spirited gypsy, and her love triangle with the doting Don Jose, an army officer, and Escamillo, a beloved bullfighter. Spanish choreographer Gustavo Ramirez Sansano choreographed Carmen.maquia in 2012 on Chicago company Luna Negra Dance Theater.

The title is derived from tauromaquia, Spanish for “the art of bullfighting.” Pablo Picasso often compared Carmen to an untamable bull, so Sansano removed “tauro” and inserted “Carmen.”

In his version, Sansano reimagines Carmen in a Picasso-inspired setting, with a white, canvas-like set and sculptural costumes made to evoke the inside of traditional flamenco attire. Bizet’s score remains the soundtrack, though in the form of various orchestral versions with no vocals.

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