Sara Baras returns to the Seville Flamenco Biennial in 2026 with one of the most anticipated events of the 24th edition: the world premiere of Infinita, her twentieth production and a declaration of love for Andalusia built through dance, memory, folklore and the identity of its eight provinces.
The Cádiz-born dancer will take over the Teatro de la Maestranza on 11, 12 and 13 September 2026, always at 8:00 pm. This is not just another visit. The Biennial has presented this return as one of the major stories of the edition and as the opening of the Maestranza programme within the festival, as well as the start of the theatre’s stage season.
The fact that gives the reunion its true scale is the time that has passed: fourteen years since her last Biennial. In 2012 she brought to the same stage La Pepa, also for three nights, and the 5,100 tickets put on sale sold out.
14
11, 12 and 13 September 2026
8:00 pm · Teatro de la Maestranza
World premiere of Infinita
Direction, script and choreography: Sara Baras
Original music: Keko Baldomero
Quick answer: Sara Baras presents Infinita at the Seville Flamenco Biennial on 11, 12 and 13 September 2026 at 8:00 pm at the Teatro de la Maestranza. It is a world premiere created for the Biennial, a tribute to Andalusia through eight women representing its eight provinces, and marks the artist’s return to the festival fourteen years after La Pepa (2012).
Last updated: 31 August 2026. All three performances of Infinita are listed among the sold-out shows of this edition. Availability may change if seats are released, so it is always worth checking the official channels.
When the programme for the 24th Biennial was presented in February, Sara Baras’s name was tied to an idea that went far beyond booking a large-scale production: the return of one of flamenco dance’s international stars after fourteen years away.
The organisers have turned that reunion into one of the symbolic pillars of the edition. Infinita does not arrive in Seville after premiering at another theatre or as just another stop on a tour. It was created for the Biennial and will have its world premiere here.
That exclusive creative character matters. The 2026 Biennial wants much of its programme to function as an event in itself, not simply as a succession of shows. In Sara Baras’s case, the commitment is reinforced by three consecutive performances in the Main Hall of the Teatro de la Maestranza.
The last time Sara Baras took part in the Biennial was in September 2012. She presented La Pepa, a production inspired by the 1812 Constitution of Cádiz, whose bicentenary had just been celebrated.
The Maestranza also reserved three nights for the company then: 14, 15 and 16 September 2012. The 5,100 seats available for those performances sold out.
The comparison with 2026 is inevitable. Fourteen years later she returns to the same theatre, again for three days and again with demand strong enough to sell out before the Biennial begins. But the artistic starting point is very different: while La Pepa looked at a specific historical episode, Infinita turns its gaze toward all of Andalusia, the artist’s maturity and the heritage carried through flamenco.
| Date | Time | Show | Venue | Status |
|---|---|---|---|---|
| Friday 11 September | 8:00 pm | Infinita · world premiere | Teatro de la Maestranza | Sold out |
| Saturday 12 September | 8:00 pm | Infinita | Teatro de la Maestranza | Sold out |
| Sunday 13 September | 8:00 pm | Infinita | Teatro de la Maestranza | Sold out |
All three performances are part of the 24th Seville Flamenco Biennial, held from 9 September to 3 October. The performance on the 11th is the world premiere of the work and opens the Teatro de la Maestranza programme within the festival.
Before that, on 10 September, the Biennial holds the major gala El mundo por montera at the Plaza de Toros de la Real Maestranza. It is therefore more accurate to understand Infinita as the Maestranza’s major stage opening and one of the inaugural events of the edition, rather than as the chronologically first activity of the whole festival.
Infinita begins with a question that Sara Baras herself poses when presenting the project: how to give back to the land everything that land has given an artist.
The answer is a show dedicated to Andalusia. It does not aim to build a literal guide to its provinces or a collection of regional postcards. The approach is more theatrical and emotional: to observe a land through its differences and seek the common heartbeat that unites them.
The work is also the twentieth show in the company’s career. That fact places the premiere at a moment of reflection and maturity. After decades taking flamenco to international stages, Baras now uses her own land as creative material.
The production works with dance, music, set design, lighting and costumes to move through Andalusian identities, landscapes, movements and memories.
In interviews ahead of the premiere, Sara Baras has linked Infinita to a stage in her life in which she experiences dance differently. Maturity is not presented as giving up physical power, but as a way of managing energy, listening to the body and deciding more consciously where to place each gesture.
That approach fits the philosophy the artist has explained for the production: after a life devoted to flamenco, art is understood less and less simply as display and more and more as an act of giving.
That is why Infinita can be read on two levels. The first is collective: Andalusia as a territory of eight identities. The second is personal: a dancer returning to the Biennial after fourteen years and using that return to ask herself what she has received and what she wants to give back.
At the conceptual core of Infinita are eight women who embody Andalusia’s eight provinces. Each has her own personality, rhythm, landscape and way of seeing.
The idea avoids presenting Andalusia as a uniform identity. Cádiz is not Granada; Huelva is not Jaén; Almería is not Seville. There is sea, mountain, countryside, borderland, city, rural memory and a multitude of accents. The production seeks to bring those differences onto the stage without losing the sense of belonging to the same cultural territory.
Women serve as the vehicle for that representation. This is not unusual in Baras’s career, which has built productions around female characters and worlds such as Juana la Loca, Mariana Pineda or Carmen.
One of the most interesting aspects of the project is that Andalusian identity is not presented as something closed. The company’s international experience runs through the concept of the work: roots travel and can remain part of a person far from their place of origin.
Sara Baras has spent decades performing in Europe, the Americas and Asia. Her way of representing Andalusia has therefore been shaped both from within and from a distance.
Infinita tries to turn that experience into stage language. The land appears as an origin, but also as portable memory. That is why the show seeks an outlook open to the world rather than a folkloric representation closed in on itself.
The presentation of the show itself speaks of bridges between flamenco and folklore. Music, choreography, set design, lighting and costumes explore those territories without rigidly separating the popular, the traditional and the flamenco.
The announced journey passes through very different forms and references:
Not all of these forms belong to the same sphere or have the same history. That is precisely part of the proposal: to listen for the connections between Andalusia’s popular repertoires and the languages flamenco has developed.
The word “fusion” may be too limited. Infinita seems less interested in mixing genres from the outside than in exploring areas of contact that already exist within Andalusian culture.
Verdiales, trillas, fandangos, sevillanas and tanguillos have historically coexisted in a territory where the boundaries between popular celebration, song, dance and flamenco have never been completely impermeable.
The show uses that material as a choreographic and musical starting point. The result is not intended to give a history lesson or establish closed genealogies, but to build an emotional map of Andalusia through movement and compás.
The creation bears the direct signature of Sara Baras in the direction, script and choreography. The original music was composed by Keko Baldomero, the company’s musical director and a regular collaborator in building the sound world of its productions.
That creative control helps explain why Infinita is presented as an especially personal work. It is not simply a choreography starring Baras, but a project whose idea, dramatic structure and movement language emerge from her own vision.
The artist’s official website stresses that all the languages of the production—music, choreography, set design, lighting and costumes—take part in this journey through Andalusia’s eight identities. The aim is for each province to have its own colour and personality without breaking the unity of the show.
The production also comes after Vuela (2024), Sara Baras’s tribute to Paco de Lucía, and is presented as the twentieth title of a private company that has spent nearly three decades touring internationally.
Sara Baras’s history with the Biennial began long before she became one of the most recognisable figures in international flamenco. The biography published by the organisers places her first appearance at the festival in 1994, at a time when her individual career was beginning to establish itself.
By then she had worked in companies and projects with artists such as Merche Esmeralda and Antonio Canales and had already toured Japan, France, New York and various European countries.
In 1998 she founded Ballet Flamenco Sara Baras and premiered Sensaciones, beginning a long body of original work that would be followed by Sueños, Juana la Loca, Mariana Pineda, Sabores, Carmen, Esencia, La Pepa, Medusa, Sombras, Alma, Vuela and other titles.
The 2026 return also makes it possible to measure how Sara Baras’s place in flamenco has changed. The artist who came to the Biennial in the 1990s is now a National Dance Award winner, recipient of the Gold Medal of Andalusia and the Gold Medal for Merit in the Fine Arts, and an Olivier Award winner, among other honours.
Her company has turned large-scale flamenco into a language that can travel to international theatres without abandoning the centrality of dance and compás.
That is why the Biennial has presented Infinita as a return with institutional and artistic weight. It is not simply about bringing back an artist absent from the festival since 2012: it is about welcoming her back at a moment of maturity, with a new work and with Seville as the starting point for her next creative stage.
Tickets for the 2026 Biennial went on sale on 11 February. The festival’s general price range runs from inexpensive seats at some venues up to the 75 euros that the organisers themselves identify as the maximum price for Sara Baras in Patio A of the Teatro de la Maestranza.
At the end of August, the Biennial’s management confirmed that more than thirty shows in the edition were already sold out and listed Infinita among the performances with no availability. All three dates therefore rank among the major sell-outs before the festival begins.
That does not mean a last-minute seat can never appear. Large productions may see returns, allocation adjustments or occasional seat releases. If you want to try, the only reliable reference is the official ticketing linked from the Biennial and the Teatro de la Maestranza.
Avoid paying inflated prices through unofficial channels. If no tickets remain, the Biennial has dozens of other shows and Seville maintains a daily programme of tablaos and flamenco venues during those dates.
The Teatro de la Maestranza is one of the Biennial’s largest and most prominent venues and in 2026 hosts many of its large-scale productions.
The fact that Infinita premieres there also has a biographical resonance. It was the stage for La Pepa at the 2012 Biennial and, fourteen years later, is once again the venue chosen for the reunion.
The theatre’s later Biennial programme includes Cañizares with the Royal Seville Symphony Orchestra, José Mercé, Manuel Liñán, Israel Galván, Farruquito, Marina Heredia and the closing production Perlas a Millares. Infinita therefore opens a sequence of major names that makes the Maestranza one of the main centres of gravity of the edition.
The world premiere will be at the Biennial, but Infinita will then continue to other theatres. Dates already announced include Málaga, Pamplona and Jerez de la Frontera.
Teatro Cervantes in Málaga has scheduled four performances from 24 to 27 October; Baluarte in Pamplona will host the show on 20 December; and Teatro Villamarta in Jerez will stage it on 29 and 30 December.
For audiences in Seville, however, the September performances have a unique value: they are the first public performances of the work and the place where audiences will discover for the first time how Sara Baras’s journey through the eight Andalusias takes shape on stage.
Infinita brings together almost all the ingredients that turn a Biennial performance into an event: a world premiere, an artist with enormous international reach, three nights at the Maestranza, a long absence and a work conceived specifically to look toward Andalusia.
The interest lies not only in seeing whether Sara Baras can still fill a major theatre—the box office has already answered that question—but in discovering what an artist with decades of stage experience does when she decides to turn her own land into choreographic material.
Fourteen years separate La Pepa from Infinita. Seville will have three nights to measure everything that has changed between the two productions and everything that, in Sara Baras’s dance, continues to beat with the same pulse.
Sara Baras presents Infinita on 11, 12 and 13 September 2026 at 8:00 pm at the Teatro de la Maestranza, as part of the 24th Seville Flamenco Biennial.
Yes. The performance on 11 September will be the world premiere of Infinita. The show was created for the Biennial and will then continue its tour at other theatres.
Infinita is a tribute to Andalusia built through eight women representing its eight provinces. The production uses flamenco, folklore, music, choreography, set design, lighting and costumes to explore the differences and the shared pulse of Andalusian identity.
Sara Baras is responsible for the direction, script and choreography. The original music is by Keko Baldomero, the company’s musical director.
Her last participation was in 2012 with La Pepa. Therefore, Infinita marks her return to the Biennial fourteen years later.
In 2012 she presented La Pepa at the Teatro de la Maestranza, the same stage she returns to in 2026. The three performances that year sold out all 5,100 seats put on sale.
As of 31 August 2026, Infinita is listed among the Biennial shows that are sold out . It is worth checking the official channels in case last-minute seats are released and avoiding unauthorised resale.
The Biennial reports that the maximum ticket price in 2026 reaches 75 euros specifically for Sara Baras’s show, for Patio A seats at the Teatro de la Maestranza.
Yes. After the Seville premiere, performances have been announced, among other cities, in Málaga, Pamplona and Jerez de la Frontera during the final quarter of 2026.
To prepare this guide we cross-checked information from the Seville Flamenco Biennial, the official page for Infinita, the Teatro de la Maestranza and the official Sara Baras website.
Information reviewed on 31 August 2026. Times, ticket availability and access conditions may be changed by the organisers.
In many cities, flamenco tablaos sell out easily, especially on weekends and during peak season. That’s why, if your dates are set, the most important thing is to book online.
Direct recommendation: book online through our website to guarantee your seat and arrive with everything confirmed. If you already have your destination, go straight to your city to see available options and clear recommendations.
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