The Unique Matinees at the 2026 Seville Flamenco Biennial form one of the most distinctive series of the 24th edition. Six performances, always at 12:00 noon, will turn the church of San Luis de los Franceses into a meeting place for flamenco and early music over three weekends.
The programme brings together Pedro El Granaíno, Alejandro Hurtado and Encarna Anillo, each with two performances and guest musicians associated with historical instruments and repertoires. Daniel Oyarzábal’s harpsichord, Enrike Solinís’s guitar and Miguel Rincón’s lute enter into dialogue with flamenco singing and guitar.
This is not simply a different time slot within the programme. The Biennial presents the matinees as an experience of intimate, unhurried listening, in which the architecture, morning light, silence and acoustics of San Luis become part of the performance itself.
6
12, 13, 19, 20, 26 and 27 September
All at 12:00 noon
Church of San Luis de los Franceses
Quick answer: the Unique Matinees at the 2026 Biennial are six morning performances at San Luis de los Franceses. Pedro El Granaíno presents Pan de oro on 12 and 13 September; Alejandro Hurtado presents Devenir de la guitarra on 19 and 20 September; and Encarna Anillo presents Camino de flores on 26 and 27 September. All begin at 12:00 noon and explore, from different perspectives, the dialogue between flamenco, early music and heritage.
Last updated: 31 August 2026. Ticket availability may change. Always check the current status of each performance on the Biennial’s official website.
The Unique Matinees bring the Biennial’s concept of a one-off event into a format different from the Unique Nights. Instead of large theatres, late-night sessions or bigger productions, the focus here is on proximity, contemplation and attentive listening.
The 24th Biennial schedules six events between 12 and 27 September. In fact, they are three artistic proposals, each presented on two consecutive mornings. All take place at 12:00 noon in the church of San Luis de los Franceses.
The series also builds a bridge with the Seville Early Music Festival (FeMÀS). The idea is to treat flamenco as music capable of engaging with a historically informed perspective, incorporating musicians and instruments associated with early repertoires without turning the result into superficial fusion.
The organisers themselves describe these performances as an invitation to slow down. The scale of the venue and the daytime schedule make it possible to move away from the logic of a large evening show and focus on the detail of the singing and guitar.
San Luis de los Franceses is not merely a backdrop. Its layout, Baroque ornamentation, morning light and ceremonial character shape the experience.
This suits the three chosen projects particularly well: Pedro El Granaíno’s deep and solemn singing, Alejandro Hurtado’s historical perspective on the guitar and Encarna Anillo’s emotional journey.
| Date | Time | Artist | Show | Featured collaboration |
|---|---|---|---|---|
| 12 September | 12:00 | Pedro El Granaíno | Pan de oro | Daniel Oyarzábal, harpsichord |
| 13 September | 12:00 | Pedro El Granaíno | Pan de oro | Daniel Oyarzábal, harpsichord |
| 19 September | 12:00 | Alejandro Hurtado | Devenir de la guitarra | Enrike Solinís |
| 20 September | 12:00 | Alejandro Hurtado | Devenir de la guitarra | Enrike Solinís |
| 26 September | 12:00 | Encarna Anillo | Camino de flores | Miguel Rincón, lute |
| 27 September | 12:00 | Encarna Anillo | Camino de flores | Miguel Rincón, lute |
All six performances take place at the Church of San Luis de los Franceses. The official programme and ticket links can be found on the Biennial page dedicated to this venue.
12 and 13 September · 12:00 noon
Pedro El Granaíno opens the series with a project created especially for the Biennial. Pan de oro seeks a solemn, intimate atmosphere in which flamenco singing meets the sound of the harpsichord.
The artistic line-up brings together Pedro El Granaíno on vocals, Daniel Oyarzábal on harpsichord, Rosa Escobar on viola and Patrocinio Hijo on guitar. The presence of strings, harpsichord and guitar creates an unusual soundscape around a voice particularly associated with flamenco’s deepest registers.
The announced repertoire moves through granaína, malagueña, soleá, fandangos and saeta, among other forms. These styles may find an especially fitting context in the contemplative atmosphere of San Luis.
The concept does not try to turn flamenco singing into Baroque music. What is interesting is precisely the preservation of each identity and observing what happens when voice, guitar and an instrument such as the harpsichord share a space steeped in historical resonance.
The title Pan de oro also creates an inevitable association with the visual richness of the church itself. In a space where altarpieces, paintings and architecture work together to create a sensory experience, the project transfers that sense of solemnity into sound.
For anyone wanting to hear flamenco singing on a different scale from the Biennial’s large stages, this is likely to be one of the edition’s most distinctive proposals.
19 and 20 September · 12:00 noon
A week later, the guitar takes centre stage. Alejandro Hurtado proposes a journey connecting different periods and languages of the Spanish and flamenco guitar, with the special collaboration of Enrike Solinís and in collaboration with FeMÀS.
The programme combines Hurtado’s own compositions with works associated with key figures in guitar history. It includes references to Francisco Tárrega, Ramón Montoya and Niño Ricardo, alongside granaína, alegrías, farruca, seguiriya, zapateado, taranta, habanera, panaderos, lullaby and bulerías.
Solinís also introduces a dialogue with historical guitar repertoires, opening another window onto the instrument’s evolution.
Devenir de la guitarra fits particularly well with one of the major themes of the 2026 edition: the concert guitar. At San Luis, however, the approach becomes almost archaeological.
Alejandro Hurtado does not offer only a recital of his own compositions. The programme lets us hear how techniques, forms and sensibilities from different periods have shaped the guitar we now identify with flamenco.
Enrike Solinís’s collaboration reinforces this historical reading. Rather than a simple opposition between “early guitar” and “flamenco guitar”, the matinee invites us to understand the instrument as a continuum full of crossings, transformations and borrowings.
26 and 27 September · 12:00 noon
Encarna Anillo closes the Unique Matinees with a much more narrative and autobiographical project. Camino de flores traces different emotional stages of her life and links them to different flamenco forms and Bach flower essences.
The programme moves through alegrías de Córdoba, marianas and tientos, petenera, seguiriya, fandango, milonga, soleá de Cádiz and bulería. Each song represents a state: childhood and innocence, disappointment, despair, anxiety, love, transformation or celebration.
The singer will be accompanied by Andrés Hernández “Pituquete” on guitar, Roberto Jaén and Diego Montoya on palmas, with the collaboration of lutenist Miguel Rincón in the dialogue with early music.
The organisers present Camino de flores as a journey in which flamenco acts at once as memory, roots and a tool for transformation. The sequence of flamenco forms is not based only on musical criteria: it structures the artist’s personal story.
The choice of San Luis strengthens this introspective dimension. If Pan de oro plays with solemnity and Devenir de la guitarra with the history of the instrument, here the relationship with the space is emotional and almost ritual.
At the end of August, the Biennial confirmed that Encarna Anillo’s performances were sold out. Availability for the rest of the series should be checked directly through the official channels because it may change as the dates approach.
The San Luis de los Franceses Monumental Complex was built between 1699 and 1731 and is considered one of the best-preserved examples of mature Baroque architecture in Seville. The project was designed by Leonardo de Figueroa and formed part of the former Jesuit novitiate.
Its artistic programme combines architecture, sculpture and painting with a strong symbolic and theatrical purpose. That Baroque character is especially important in the matinees: the space was conceived to surround visitors and create a sensory experience.
The Biennial makes deliberate use of these qualities. Midday light, the intimate scale and the silence of the church transform the way a voice or guitar is heard. That is why the Unique Matinees could not simply be moved to another venue without losing an important part of their meaning.
One of the most interesting aspects of the matinees is that the Biennial does not use the Baroque simply as visual scenery. There is genuine collaboration with the world of early music.
Harpsichordist Daniel Oyarzábal, Enrike Solinís and lutenist Miguel Rincón introduce sounds that are not normally part of a conventional flamenco recital. But each project uses this encounter differently.
Not exactly. Flamenco remains at the centre of all three proposals. Early music acts as a counterpart and allows us to hear differently elements already present in singing and guitar: ornamentation, tension, repetition, improvisation, resonance and ceremonial character.
This approach avoids a simplistic idea of “fusion”. The series is closer to a conversation between traditions, periods and ways of understanding music.
For audiences interested both in the history of flamenco and in the evolution of its languages, these six performances offer a perspective unlike the rest of the programme.
Tickets are managed through the official pages for each show on the Biennial website. Availability can change quickly because of the venue’s limited capacity and intimate nature.
Demand has been particularly high for months before the festival begins. The Biennial had already confirmed several San Luis performances as sold out in spring and, on 26 August, specifically announced that Camino de flores, by Encarna Anillo, was sold out.
For that reason, check the page for the exact date rather than relying on old lists. If an official purchase option appears, verify availability there at that moment.
If the matinee you wanted is full, see our guide to what to do when there are no tickets left for the Biennial. The programme is extensive and there are other performances, free activities and flamenco options throughout the city.
The monumental complex is located at 37 Calle San Luis, in Seville’s historic centre, north of the Calle Feria axis and relatively close to the Basilica of La Macarena.
According to information from the venue itself, several TUSSAM bus routes can take you close to the area, including lines 02, 14, 27, 32 and C1.
If you are walking from the monumental centre, allow enough time for the journey. The matinees start at 12:00 noon, and admission to a Biennial performance should not be confused with a standard tourist visit to the monument.
The 12:00 noon start makes this series one of the easiest ways to build a full Biennial day. After a matinee there is plenty of time for lunch, a rest and another performance in the afternoon or evening.
On 12 September, for example, the day continues with events at Espacio Turina, Teatro Lope de Vega, Teatro de la Maestranza and Teatro Alameda. On 20 September, after Alejandro Hurtado, the programme includes Manuel de la Luz and Manuel Imán, José Mercé and the Gala of the Andalusian Young Flamenco Artists Circuit. On 27 September, after Encarna Anillo, the programme continues with Dani de Morón, Fue tu querer and Estévez / Paños y Compañía.
That said, the advantage of a matinee is precisely the chance to experience it at a different pace. It is not worth leaving San Luis already thinking about the next dash between theatres.
The Unique Matinees occupy only a small place numerically within a huge programme, but they sum up one of the most interesting ideas of the 24th Biennial: flamenco does not always need to increase the volume or scale to create an event.
Here, the luxury lies in proximity. A voice opposite a harpsichord. A flamenco guitar listening to its own history. A lute alongside autobiographical singing. All of it inside one of Seville’s most exceptional Baroque spaces and in broad daylight.
If tickets are still available for any of the dates during your trip, this is a series well worth considering. And if they are already sold out, the Biennial itself offers many other ways to build a complete flamenco day.
There are six performances, corresponding to three shows, each presented on two consecutive days.
They take place on 12, 13, 19, 20, 26 and 27 September 2026. All performances begin at 12:00 noon.
All Unique Matinees take place at the Church of San Luis de los Franceses, on Calle San Luis in Seville.
Pedro El Granaíno presents Pan de oro with Daniel Oyarzábal; Alejandro Hurtado presents Devenir de la guitarra with Enrike Solinís; and Encarna Anillo presents Camino de flores with the collaboration of lutenist Miguel Rincón.
The series creates a dialogue between flamenco and historical music through musicians and instruments such as the harpsichord and lute, as well as collaboration with the Seville Early Music Festival.
No. They are a separate additional series. The Unique Nights have their own calendar within the Biennial programme.
Yes. Demand for the series has been very high. At the end of August, the Biennial specifically confirmed that both performances of Camino de flores, by Encarna Anillo, were sold out. Always check current availability for each date on the official website.
They all begin at 12:00 noon.
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.
Find out more about this with your favorite AI:
Did you like this article? Share it!:
Article published by:
What to see from 11 to 13 September at the 2026 Seville Flamenco Biennial: full programme, recommendations, sold-out shows, itineraries and free activities.
Sara Baras returns to the Seville Flamenco Biennial after 14 years with Infinita: world premiere, dates, concept, tickets and key details of the show.
Is your Biennial show sold out? Discover where to see flamenco tonight in Seville, which tablaos to choose by area and type of experience, and how to book for the same evening.
