{"id":14031,"date":"2026-09-01T12:18:55","date_gmt":"2026-09-01T10:18:55","guid":{"rendered":"https:\/\/www.tablaosflamencos.com\/?p=14031"},"modified":"2026-09-02T12:13:31","modified_gmt":"2026-09-02T10:13:31","slug":"major-premieres-seville-flamenco-biennial-2026","status":"publish","type":"post","link":"https:\/\/www.tablaosflamencos.com\/en\/major-premieres-seville-flamenco-biennial-2026.html","title":{"rendered":"The Major Premieres of the 2026 Seville Flamenco Biennial"},"content":{"rendered":"

The Major Premieres of the 2026 Seville Flamenco Biennial<\/h2>\n

The XXIV Seville Flamenco Biennial<\/strong>, which will be held on September 9 to October 3, 2026<\/strong>, once again turns the city into a great laboratory of creation. Beyond bringing together established figures, one of the hallmarks of the Biennial is to serve as a starting point for works that are born in Seville and that can later tour festivals and theaters around the world.<\/p>\n

The number of premieres has been changing as the programming closed. In February, during the initial presentation, the organization spoke of 22 world premieres<\/strong>. On August 18, it published a specific update that placed the balance at 20 world premieres<\/strong>. And the current programming introduces an important nuance: Babel. Torre viva.<\/em>, by David Coria, now appears as Spanish premiere<\/strong>, while the family workshop Tirititr\u00e1n<\/em>, within the parallel activities of CaixaForum, appears as world premiere<\/strong>.<\/p>\n

Therefore, for this guide we take as reference the classification that currently appears in the official sheets<\/strong>: 20 world premieres if the general stage programming and Tirititr\u00e1n<\/em>, plus the Spanish premiere of David Coria.<\/p>\n

Last updated:<\/strong> September 1, 2026. Official listings, times and availability may still change, so check the official programme before purchasing tickets.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

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Quick answer:<\/strong> the major premieres of the 2026 Flamenco Biennial begin on the opening weekend with Infinita<\/em> by Sara Baras, Menos es m\u00e1s<\/em> from La Tremendita, Fractal Arcano<\/em> of Dorantes, La misma sangre del cuerpo<\/em> by \u00c1ngeles Toledano and Rapsodia. Fantas\u00eda subterr\u00e1nea<\/em> by Ana Morales. Then, among others, Rafael Riqueni and Tim Ries, Olga Pericet, Andr\u00e9s Mar\u00edn, Israel and Pastora Galv\u00e1n, Farruquito, Sara Jim\u00e9nez, Alfonso Losa and Sandra Carrasco will arrive along with David de Arahal. The current programming also adds Tirititr\u00e1n<\/em> as an absolute family premiere and classifies Babel. Torre viva.<\/em>, by David Coria, as a Spanish premiere.<\/p>\n<\/blockquote>\n<\/div><\/div>

<\/div>
Complete guide to the 2026 Biennial<\/span><\/a><\/div>
First weekend of the Biennale<\/span><\/a><\/div>
Official programme<\/span><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

Why premieres are one of the keys to the Biennial<\/h2>\n

A Biennale is not limited to bringing together good existing shows. Part of its prestige is in cause creation<\/strong>: commissioning, co-producing, supporting or hosting new projects and giving them a setting where artists, critics, programmers and audiences discover them at the same time.<\/p>\n

A world premiere offers something that an established production cannot: there is no settled critical response, broad public reaction or extensive video archive revealing exactly what will happen on stage. The audience witnesses the work being born.<\/p>\n

In 2026, this creative activity is spread across very different venues. Teatro de la Maestranza hosts large-scale productions; Teatro Central is a space for experimentation; Teatro Lope de Vega resumes its historic role within the Biennial; Real F\u00e1brica de Artiller\u00eda opens up performance possibilities linked to its architecture; Teatro Alameda brings together new voices and dance languages; Espacio Turina strengthens flamenco guitar and instrumental creation; the Real Alc\u00e1zar places cante in a heritage setting; and CaixaForum adds a family programme.<\/p>\n

If you are planning a trip around the Seville Flamenco Biennial 2026<\/strong><\/a>, the program is worth watching not only for the name of the artist, but also for one question: what works can be seen here for the first time?<\/strong><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

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The 20 world premieres of the 2026 Biennial, one by one<\/h2>\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Date<\/th>\nTime<\/th>\nArtist \/ activity<\/th>\nShow<\/th>\nVenue<\/th>\nType<\/th>\n<\/tr>\n<\/thead>\n
September 11-13<\/td>\nSeveral sessions<\/td>\nFamily flamenco workshop<\/td>\nTirititr\u00e1n<\/em><\/td>\nCaixaForum<\/td>\nWorld premiere \u00b7 free activity<\/td>\n<\/tr>\n
September 11-13<\/td>\n20:00<\/td>\nSara Baras<\/td>\nInfinita<\/em><\/td>\nTeatro de la Maestranza<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 11<\/td>\n22:30<\/td>\nRosario La Tremendita<\/td>\nMenos es m\u00e1s<\/em><\/td>\nTeatro Central<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 12<\/td>\n20:00<\/td>\nDorantes<\/td>\nFractal Arcano<\/em><\/td>\nTeatro Lope de Vega<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 12<\/td>\n22:30<\/td>\n\u00c1ngeles Toledano<\/td>\nLa misma sangre del cuerpo<\/em><\/td>\nTeatro Alameda<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 13-14<\/td>\n21:00<\/td>\nAna Morales<\/td>\nRapsodia. Fantas\u00eda subterr\u00e1nea<\/em><\/td>\nReal F\u00e1brica de Artiller\u00eda<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 14<\/td>\n22:30<\/td>\nMacarena L\u00f3pez<\/td>\nSobre todas las cosas<\/em><\/td>\nTeatro Alameda<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 15<\/td>\n21:30<\/td>\nRancapino Chico<\/td>\nPizarra<\/em><\/td>\nReal Alc\u00e1zar<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 19<\/td>\n19:00<\/td>\nMar\u00eda Mar\u00edn<\/td>\nLas Tres Mar\u00edas<\/em><\/td>\nEspacio Turina<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 21<\/td>\n20:00<\/td>\nRafael Riqueni & Tim Ries<\/td>\nTunisia<\/em><\/td>\nTeatro Lope de Vega<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 21<\/td>\n22:30<\/td>\nOlga Pericet<\/td>\nPerspectiva sobre un baile sonoro<\/em><\/td>\nTeatro Central<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 23<\/td>\n21:00<\/td>\nPablo Mart\u00edn Caminero con Mar\u00eda Moreno<\/td>\nTrilog\u00eda. Al baile<\/em><\/td>\nReal F\u00e1brica de Artiller\u00eda<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 23<\/td>\n22:30<\/td>\nJuan Tom\u00e1s de la Mol\u00eda & \u00c1gueda Saavedra<\/td>\nTe atrevo<\/em><\/td>\nTeatro Central<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 25<\/td>\n22:30<\/td>\nAndr\u00e9s Mar\u00edn<\/td>\nDesierto<\/em><\/td>\nTeatro Central<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 26<\/td>\n20:00<\/td>\nIsrael Galv\u00e1n<\/td>\nBolero de blanco y negro<\/em><\/td>\nTeatro de la Maestranza<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 26<\/td>\n22:30<\/td>\nPastora Galv\u00e1n<\/td>\nTRIBUsssh!<\/em><\/td>\nTeatro Alameda<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 28<\/td>\n20:00<\/td>\nFarruquito<\/td>\nSer\u00e1s Farruquito: el musical<\/em><\/td>\nTeatro de la Maestranza<\/td>\nWorld premiere<\/td>\n<\/tr>\n
September 29<\/td>\n22:30<\/td>\nSara Jim\u00e9nez en Compa\u00f1\u00eda<\/td>\nLa compa\u00f1\u00eda<\/em><\/td>\nTeatro Central<\/td>\nWorld premiere<\/td>\n<\/tr>\n
October 2<\/td>\n20:00<\/td>\nAlfonso Losa<\/td>\nGesto m\u00ednimo<\/em><\/td>\nTeatro Lope de Vega<\/td>\nWorld premiere<\/td>\n<\/tr>\n
October 2<\/td>\n22:30<\/td>\nSandra Carrasco & David de Arahal<\/td>\nPoema de la libertad<\/em><\/td>\nTeatro Central<\/td>\nWorld premiere<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

Classification based on the current official listings as of September 1, 2026. The three days of Tirititr\u00e1n<\/em> are different sessions of the same world premiere.<\/small><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

And one Spanish premiere: Babel. Torre viva. by David Coria<\/h2>\n

The situation of David Coria<\/strong> deserves an explanation because it is the main source of confusion between the different communications of the Biennial. In information published on August 18, Babel. Torre viva.<\/em> appeared within the new creations block of the edition. However, the current official listing of the show identifies it as Spanish premiere<\/strong> and establishes its representation for the September 29 at 8:00 p.m.<\/strong> at Teatro Lope de Vega.<\/p>\n

A world premiere is the first public presentation of a work anywhere. A Spanish premiere means that the production may already have been performed outside Spain but is being presented in the country for the first time. This distinction does not make the project any less interesting: Coria draws on the myth of the Tower of Babel to explore fractures, languages, coexistence and possibilities for connection through a contemporary physical and choreographic language.<\/p>\n

The current classification is especially useful because some earlier news reports and materials may still present Babel. Torre viva.<\/em> as an world premiere. In this guide always prevails most recent official file<\/strong>.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

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The first weekend concentrates five major stage premieres<\/h2>\n

The first major wave arrives between September 11 and 14. Sara Baras returns to the Biennial after fourteen years with Infinita<\/em><\/strong>, created for the edition and articulated around eight female perspectives symbolically linked to the eight Andalusian provinces. Her three performances at the Maestranza make the dancer’s return one of the great events of the start.<\/p>\n

That same Friday the 11th, Rosario La Tremendita premieres at the Teatro Central Menos es m\u00e1s<\/em><\/strong>. Singing, bass, guitar, drums and keyboards build a proposal open to research and dialogue with other musical languages. On Saturday the 12th, Dorantes presents Fractal Arcano<\/em><\/strong> at the Lope de Vega and \u00c1ngeles Toledano premieres La misma sangre del cuerpo<\/em><\/strong> in the Alameda.<\/p>\n

On Sunday the 13th and Monday the 14th, Ana Morales occupies the Real F\u00e1brica de Artiller\u00eda with Rapsodia. Fantas\u00eda subterr\u00e1nea<\/em><\/strong>, a creation connected to an underground, historical and imaginary Seville and with musical direction by Ni\u00f1o de Elche. Their performances were sold out before the start of the festival.<\/p>\n

Added to these stage premieres is Tirititr\u00e1n<\/em><\/strong>, CaixaForum’s free family proposal, which the official programming also classifies as an world premiere and which takes place on the 11th, 12th and 13th with different sessions.<\/p>\n

To order all the matches of those days you can consult our guide what to see the first weekend of the 2026 Biennale<\/strong><\/a>.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

From archival singing to new voices<\/h2>\n

The singing chapter shows that debuting does not necessarily mean breaking with tradition. Rancapino Chico<\/strong> will present on September 15 at the Real Alc\u00e1zar Pizarra<\/em><\/strong>, a recital inspired by old 78 rpm records and the sound memory of masters such as Tom\u00e1s Pav\u00f3n or Manuel Torre. It is a premiere that looks back to build a present reading of the sources of singing.<\/p>\n

At the other generational extreme, \u00c1ngeles Toledano<\/strong> converts the universe of his recording work and his relationship with traditional singing into stage material for La misma sangre del cuerpo<\/em>. La Tremendita, for its part, uses the root as a starting point for a much more open musical architecture.<\/p>\n

On October 2, Sandra Carrasco and David de Arahal<\/strong> will close this tour with Poema de la libertad<\/em><\/strong>. The project takes Pepe Marchena as a reference on the 50th anniversary of his death and reviews his legacy from the relationship between singing and guitar, vindicating the creative freedom that accompanied one of the fundamental figures of the so-called Flamenco Opera.<\/p>\n

That historical context can be expanded in our guide on The blue night and the time of the Flamenco Opera<\/strong><\/a>.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

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Touch and instrumental creation expand the map<\/h2>\n

The September 19<\/strong>, Mar\u00eda Mar\u00edn will present Las Tres Mar\u00edas<\/em><\/strong> in Espacio Turina. Guitarist, singer and composer, Mar\u00edn moves between flamenco tradition, popular music and contemporary experimentation, with musical production by Ra\u00fal Cantizano.<\/p>\n

Two days later, Lope de Vega will bring together Rafael Riqueni and Tim Ries<\/strong> en Tunisia<\/em><\/strong>. The guitar of the Triana maestro will dialogue with the saxophones and flute of the American musician in a project that crosses flamenco, jazz, improvisation and musical freedom.<\/p>\n

Dorantes opens this territory a few days before with Fractal Arcano<\/em>, placing the piano and the clapping at the center of a specially refined proposal. And the Real F\u00e1brica de Artiller\u00eda will host from September 22 to 24 the Trilog\u00eda<\/em> by Pablo Mart\u00edn Caminero<\/strong>. The chapters Al toque<\/em> y Al cante<\/em> frame the world premiere of Trilog\u00eda. Al baile<\/em><\/strong>, with Mar\u00eda Moreno, on September 23.<\/p>\n

The key is that the 2026 instrumental premiere is not limited to solo guitar: piano, double bass, saxophone, flute and other sounds broaden the musical landscape of the Biennial.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

The Teatro Central, laboratory of new languages<\/h2>\n

The Teatro Central concentrates a good part of the projects most linked to scenic research. The September 21<\/strong>, Olga Pericet will present Perspectiva sobre un baile sonoro<\/em><\/strong>, name currently used by the official file. The proposal revisits his own bodily and artistic memory and raises new possibilities for the flamenco recital.<\/p>\n

The September 23<\/strong>, Juan Tom\u00e1s de la Mol\u00eda and \u00c1gueda Saavedra<\/strong> will be released Te atrevo<\/em><\/strong> under the direction of Manuel Li\u00f1\u00e1n. The 25<\/strong> will arrive Andr\u00e9s Mar\u00edn<\/strong> with Desierto<\/em><\/strong>, a work that is based on the poetic memory of the Alameda de H\u00e9rcules and features Jos\u00e9 de la Tomasa as a guest artist.<\/p>\n

The September 29<\/strong>, Sara Jim\u00e9nez en Compa\u00f1\u00eda<\/strong> will premiere La compa\u00f1\u00eda<\/em><\/strong>, a stage fable that mixes flamenco, contemporary dance, theater and circus imagery to reflect on identity, difference and the place of the artist.<\/p>\n

and the October 2<\/strong>, Sandra Carrasco and David de Arahal will present Poema de la libertad<\/em>. The Central thus allows us to follow, almost like a festival within the festival, some of the most open paths of contemporary flamenco.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

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Israel Galv\u00e1n, Pastora Galv\u00e1n and Farruquito: the great dance section<\/h2>\n

The September 26<\/strong> concentrates two especially attractive premieres for those who follow Sevillian dance. At 8:00 p.m., at the Teatro de la Maestranza, Israel Galv\u00e1n<\/strong> will present Bolero de blanco y negro<\/em><\/strong>, his approach to the universe of Maurice Ravel and the bolero genre.<\/p>\n

At 10:30 p.m., the Teatro Alameda will receive Pastora Galv\u00e1n<\/strong> with TRIBUsssh!<\/em><\/strong>, a work that puts her stage personality and the tradition of Sevillian women’s dance in dialogue with a broader musical imaginary.<\/p>\n

Two days later, the September 28<\/strong>, Farruquito<\/strong> will premiere at the Teatro de la Maestranza Ser\u00e1s Farruquito: el musical<\/em><\/strong>. The project moves away from the conventional recital format and builds an emotional biography around his personal, family and artistic history, with his own archives, a dance group and extensive musical training.<\/p>\n

The dance tour is completed with Macarena L\u00f3pez, Ana Morales, Olga Pericet, Andr\u00e9s Mar\u00edn, Sara Jim\u00e9nez, Alfonso Losa and the Spanish premiere of David Coria, showing the extent to which the 2026 edition uses the body as a territory of memory, research and creation.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

The creative closure: Minimal gesture and Poem of freedom<\/h2>\n

The October 2<\/strong>, just one day before the closing, the Biennial will concentrate two very different world premieres.<\/p>\n

At 8:00 p.m. at Lope de Vega, Alfonso Losa<\/strong> will present Gesto m\u00ednimo<\/em><\/strong>, an investigation into the body as a meeting space and the idea of a \u201cdancing community\u201d. The work uses small choreographic gestures to reflect on coexistence, fragility and the relationship between bodies.<\/p>\n

At 10:30 p.m. at the Teatro Central, Sandra Carrasco and David de Arahal<\/strong> will be released Poema de la libertad<\/em><\/strong>. The review of Pepe Marchena’s legacy connects with one of the great historical threads of this edition: the century that has passed since the consolidation of Flamenco Opera as a scenic and popular phenomenon.<\/p>\n

This double closing well summarizes the breadth of the program: a contemporary choreographic investigation and a rereading of the memory of singing coexist in the same night.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

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How to choose between so many premieres<\/h2>\n

If you’re only going to be in Seville for a day or two, trying to chase \u201cthe best premiere\u201d may be less useful than deciding what kind of flamenco you want to see.<\/p>\n

If you search large format and dance<\/strong>, Sara Baras, Israel Galv\u00e1n or Farruquito are obvious references. If you are interested in choreographic research<\/strong>, look towards Ana Morales, Olga Pericet, Andr\u00e9s Mar\u00edn, Sara Jim\u00e9nez, Alfonso Losa or David Coria. For singing and new voices<\/strong>, La Tremendita, \u00c1ngeles Toledano, Rancapino Chico or Sandra Carrasco offer very different paths. And if your priority is touch and instrumental music<\/strong>, Dorantes, Mar\u00eda Mar\u00edn, Rafael Riqueni with Tim Ries and Pablo Mart\u00edn Caminero form an exceptional tour.<\/p>\n

It is also a good idea to check availability before finalizing your trip and accommodation. Some features have been out of stock for a while. Our guide to sold out tickets for the 2026 Biennial<\/strong><\/a> explains what alternatives exist when a first option is no longer available.<\/p>\n

Not all the major events of the edition are premieres. The Biennale has also announced 26 Unique Nights<\/strong><\/a>, as well as exhibitions, parallel activities and free proposals. You can consult our list of free activities of the 2026 Biennial<\/strong><\/a> to complete the trip without depending exclusively on theater tickets.<\/p>\n

To confirm schedules, last minute changes and ticket sales, always consult the official programming of the Biennial<\/strong><\/a>.<\/p>\n<\/div><\/div>

<\/div>
Complete guide to the 2026 Biennial<\/span><\/a><\/div>
What to do if there are no tickets left<\/span><\/a><\/div>
See flamenco in Seville<\/span><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>
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Frequently asked questions about the 2026 Biennial premieres<\/h2>\n<\/div><\/div>
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