The Major Premieres of the 2026 Seville Flamenco Biennial

The Major Premieres of the 2026 Seville Flamenco Biennial

The XXIV Seville Flamenco Biennial, which will be held on September 9 to October 3, 2026, 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.

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

Therefore, for this guide we take as reference the classification that currently appears in the official sheets: 20 world premieres if the general stage programming and Tirititrán, plus the Spanish premiere of David Coria.

Last updated: September 1, 2026. Official listings, times and availability may still change, so check the official programme before purchasing tickets.

Why premieres are one of the keys to the Biennial

A Biennale is not limited to bringing together good existing shows. Part of its prestige is in cause creation: 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.

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.

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 Fábrica de Artillería 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 Alcázar places cante in a heritage setting; and CaixaForum adds a family programme.

If you are planning a trip around the Seville Flamenco Biennial 2026, 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?

And one Spanish premiere: Babel. Torre viva. by David Coria

The situation of David Coria 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. appeared within the new creations block of the edition. However, the current official listing of the show identifies it as Spanish premiere and establishes its representation for the September 29 at 8:00 p.m. at Teatro Lope de Vega.

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.

The current classification is especially useful because some earlier news reports and materials may still present Babel. Torre viva. as an world premiere. In this guide always prevails most recent official file.

From archival singing to new voices

The singing chapter shows that debuting does not necessarily mean breaking with tradition. Rancapino Chico will present on September 15 at the Real Alcázar Pizarra, a recital inspired by old 78 rpm records and the sound memory of masters such as Tomás Pavón or Manuel Torre. It is a premiere that looks back to build a present reading of the sources of singing.

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

On October 2, Sandra Carrasco and David de Arahal will close this tour with Poema de la libertad. 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.

That historical context can be expanded in our guide on The blue night and the time of the Flamenco Opera.

The Teatro Central, laboratory of new languages

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

The September 23, Juan Tomás de la Molía and Águeda Saavedra will be released Te atrevo under the direction of Manuel Liñán. The 25 will arrive Andrés Marín with Desierto, a work that is based on the poetic memory of the Alameda de Hércules and features José de la Tomasa as a guest artist.

The September 29, Sara Jiménez en Compañía will premiere La compañía, a stage fable that mixes flamenco, contemporary dance, theater and circus imagery to reflect on identity, difference and the place of the artist.

and the October 2, Sandra Carrasco and David de Arahal will present Poema de la libertad. The Central thus allows us to follow, almost like a festival within the festival, some of the most open paths of contemporary flamenco.

The creative closure: Minimal gesture and Poem of freedom

The October 2, just one day before the closing, the Biennial will concentrate two very different world premieres.

At 8:00 p.m. at Lope de Vega, Alfonso Losa will present Gesto mínimo, an investigation into the body as a meeting space and the idea of a “dancing community”. The work uses small choreographic gestures to reflect on coexistence, fragility and the relationship between bodies.

At 10:30 p.m. at the Teatro Central, Sandra Carrasco and David de Arahal will be released Poema de la libertad. 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.

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.