The 24th Seville Flamenco Biennial enters its final stretch. From Monday, September 28 to Saturday, October 3, 2026, six days and 11 official performances remain to close an edition that began on September 9 and, for almost a month, has brought singing, dance, guitar, premieres and Noches Únicas to some of the city’s main stages.
The final stretch does not lower the bar. It begins with Farruquito at Teatro de la Maestranza, continues with David Coria, Sara Jiménez, Mayte Martín, Capullo de Jerez, José de los Camarones, Marina Heredia with the Royal Seville Symphony Orchestra, Los Parrilla, Alfonso Losa, Sandra Carrasco and David de Arahal, and culminates on Saturday, October 3 with Carmen Linares and a celebration of the 30th anniversary of Antología de la Mujer en el Cante.
Unlike other weeks of the Biennial, the schedule is somewhat easier here: on most days there is one performance at 8:00 pm and another at 10:30 pm. That makes double evenings possible in theory, although they should not be taken for granted without knowing the duration of each show. This guide organizes the full program from September 28 to October 3 and helps you decide what to see depending on whether you are looking for major names, singing, dance, flamenco memory or contemporary creation.
SEP 28
OCT 3
6 days · 11 official performances
Maestranza · Lope de Vega · Central · Alameda
Dance · singing · memory · premieres · Noches Únicas
Closing night: Carmen Linares · October 3
Quick answer: on Monday 28 the week begins with Farruquito at the Maestranza and ends with a tribute to Manuel Vallejo at the Alameda; on Tuesday 29 David Coria’s large-scale choreographic language contrasts with Sara Jiménez’s premiere; on Wednesday 30 one of the strongest days for flamenco singing brings Mayte Martín together with the meeting of Capullo de Jerez and José de los Camarones; on Thursday 1 Marina Heredia’s symphonic project meets the family memory of Los Parrilla; on Friday 2 dance returns to the foreground with Alfonso Losa before the premiere by Sandra Carrasco and David de Arahal; and on Saturday 3 the Biennial says goodbye with Carmen Linares, Marina Heredia, María Terremoto, Rafaela Carrasco and Rocío Luna.
Last updated: September 16, 2026. Dates, times and formats checked against the official program of the 24th Biennial. Ticket availability may change as the performances approach: always check the official sales channel before planning your evening.
After especially packed weeks, the Biennial enters six days that are easier to read. There are no longer three or four stages competing at the same time: from September 28 to October 2 the dominant pattern is a main performance at 8:00 pm and another at 10:30 pm, while Saturday 3 is reserved for the grand closing night at the Maestranza.
That does not mean it is possible to see everything. An 8:00 pm performance may end too late to reach a 10:30 pm one comfortably. That is why this guide distinguishes between combinations that work on paper and nights when it is better to choose a single event and enjoy it without watching the clock.
Although there are two major dance premieres —Farruquito and Alfonso Losa— and choreographic proposals by David Coria and Sara Jiménez, the final stretch has a strong component of flamenco singing memory.
Por Vallejo reclaims the legacy of Manuel Vallejo; Mayte Martín returns to older repertoires with Arqueología de lo puro; Capullo de Jerez and José de los Camarones present a Noche Única shaped by two very different personalities; Sandra Carrasco and David de Arahal take Pepe Marchena as their starting point; and Carmen Linares closes the Biennial by recovering the spirit of her historic Antología de la Mujer en el Cante.
To explore this theme further, you can also read our guide to flamenco singing at the 2026 Biennial.
| Date | Time | Venue | Artist / show | Format |
|---|---|---|---|---|
| Mon. 28 | 8:00 pm | Teatro de la Maestranza | Farruquito — Serás Farruquito: el musical | World premiere |
| Mon. 28 | 10:30 pm | Teatro Alameda | Manuel Cuevas & Miguel de Tena — Por Vallejo | Noche Única |
| Tue. 29 | 8:00 pm | Teatro Lope de Vega | David Coria Company — Babel. Torre viva. | National premiere |
| Tue. 29 | 10:30 pm | Teatro Central | Sara Jiménez en Compañía — La compañía | World premiere |
| Wed. 30 | 8:00 pm | Teatro Lope de Vega | Mayte Martín — Arqueología de lo puro | Noche Única |
| Wed. 30 | 10:30 pm | Teatro Alameda | Capullo de Jerez & José de los Camarones — Los flamencos no van a la barbería | Noche Única |
| Thu. 1 | 8:00 pm | Teatro de la Maestranza | Marina Heredia & ROSS — ¡En libertad! El camino de los gitanos | Singing and orchestra |
| Thu. 1 | 10:30 pm | Teatro Alameda | Los Parrilla with Diego Carrasco and Carrete de Málaga — Herencia | Noche Única |
| Fri. 2 | 8:00 pm | Teatro Lope de Vega | Alfonso Losa — Gesto mínimo | World premiere |
| Fri. 2 | 10:30 pm | Teatro Central | Sandra Carrasco & David de Arahal — Poema de la libertad | World premiere |
| Sat. 3 | 8:00 pm | Teatro de la Maestranza | Carmen Linares with Marina Heredia, María Terremoto, Rafaela Carrasco and Rocío Luna — Perlas a millares | Noche Única · closing night |
Important: the official program may update practical information or availability. If you plan to buy tickets for two performances on the same night, confirm the duration of the first and the actual travel time between venues.
The final week begins on a grand scale. At 8:00 pm at Teatro de la Maestranza, Farruquito presents the world premiere of Serás Farruquito: el musical.
This is not a small recital. The cast brings together Farruquito and Juan el Moreno in dance, a six-member corps de ballet, guitar, several singers, drums, percussion and keyboards. Farruquito also signs the artistic and musical direction.
For anyone who wants to reserve one of the Biennial’s final nights for a large-scale flamenco dance production, it is one of the clearest choices in the closing stretch. It also connects with a central question in this edition: how the great flamenco schools and families transmit their own language and take it into larger stage formats.
You can expand the context with our article on dance at the 2026 Flamenco Biennial.
Teatro Alameda changes register completely at 10:30 pm. Manuel Cuevas and Miguel de Tena present Por Vallejo, a Noche Única dedicated to Manuel Vallejo, one of the major references of 20th-century Sevillian flamenco singing.
The proposal also arrives in the centenary year of Vallejo receiving the second Golden Key of Flamenco Singing. Cuevas and De Tena approach his repertoire from two careers strongly linked to peñas, festivals and competitions, accompanied respectively by Niño Seve and Patrocinio hijo on guitar.
Monday therefore offers two very different ways into the final week: scale and dance with Farruquito or memory and classic flamenco singing with Por Vallejo. Combining both performances is attractive on paper, but we would not consider it safe without knowing the exact duration of the Maestranza premiere.
At 8:00 pm at Teatro Lope de Vega, David Coria’s company presents the national premiere of Babel. Torre viva.. Coria signs the original idea and artistic direction, with dramaturgy by Alberto Conejero and extensive choreographic work built together with the cast.
It is one of the most stage-driven proposals of this final stretch. The project brings together performers from different backgrounds and works with a company language, moving away from the individual recital format. For anyone following the evolution of flamenco dance toward contemporary creation models, it is an important event.
The Lope de Vega once again becomes the place where tradition, dramaturgy and choreographic composition meet on a theatrical scale.
At 10:30 pm, Sara Jiménez premieres La compañía at Teatro Central. The work begins with the image of a travelling troupe and uses references to circus, caravans, theatre of the absurd and wandering characters to reflect on the artist’s identity and public exposure.
Musically, the project opens flamenco toward territories ranging from early music to Balkan sounds. Choreographically, it moves through forms such as romance, mariana, guajira and rumba through a logic of transformation and crossover.
Tuesday is probably the night most clearly focused on contemporary creation in these final days. If that is your interest, both Coria and Jiménez deserve attention. Again, attempting both performances depends on the duration of the first and the transfer from the Lope de Vega to Teatro Central.
On Wednesday at 8:00 pm, Mayte Martín presents Arqueología de lo puro at Teatro Lope de Vega, accompanied by José Gálvez on guitar.
The very concept of the show is based on preserving and returning older flamenco works to the stage, including some that are rarely performed. The official program does not set a fixed repertoire, reinforcing the living character of a proposal centered on singing and musical memory.
For anyone who wants to finish the Biennial listening to flamenco through the essentiality of voice and guitar, this is one of the clearest nights. It does not need a large stage device to be singular: its strength lies precisely in concentration and knowledge of the repertoire.
Teatro Alameda welcomes at 10:30 pm Capullo de Jerez and José de los Camarones with Los flamencos no van a la barbería. The title already points to a declaration of freedom and a night shaped by two very distinctive personalities of Jerez flamenco singing.
The structure brings together traditional styles, original repertoire and a dialogue that the organizers present as a space for improvisation, tension and complicity. Capullo arrives with guitar, percussion and palmas; José de los Camarones expands the instrumental color with guitar, keyboards, drums and bass.
September 30 is possibly the most attractive day of this final stretch if your absolute priority is flamenco singing. Mayte Martín and the Alameda encounter represent two almost opposite ways of approaching the same root.
On October 1, at 8:00 pm at Teatro de la Maestranza, Marina Heredia presents with the Royal Seville Symphony Orchestra ¡En libertad! El camino de los gitanos.
The project takes as its reference the six centuries since the documented arrival of the Roma people on the Iberian Peninsula and builds a work combining historical research, narrative and musical creation. This is not entirely unfamiliar territory for Marina Heredia: throughout her career she has frequently engaged with other music and formats that expand the usual framework of a flamenco recital.
If you are looking for a show with large-scale sound in the Biennial’s final days, this performance has a place of its own. It is not simply a recital with accompaniment, but a proposal conceived around the relationship between a singer and a symphony orchestra.
At 10:30 pm Teatro Alameda hosts Herencia, with Juan Parrilla, Bernardo Parrilla, Diego Carrasco and Carrete de Málaga.
The central idea is precisely transmission. Juan Parrilla and Bernardo Parrilla start from a family legacy linked to Jerez and cross it with decades of experience alongside major figures in flamenco and dance. The presence of Diego Carrasco and Carrete expands that idea of heritage into two very personal ways of understanding the stage.
Flute, violin, singing, guitars, keyboards, percussion and dance turn this Noche Única into a celebration of roots without treating them as a museum piece. For anyone who values unrepeatable gatherings of artists, it is one of the performances that best embodies the Biennial concept.
The penultimate day begins at 8:00 pm at Teatro Lope de Vega with the world premiere of Gesto mínimo, Alfonso Losa’s new creation.
The work starts from the idea of the group and of a dancing community. Losa shares the stage with Karen Lugo, Águeda Saavedra and Yoel Vargas, accompanied by Francisco Vinuesa on guitar and the singing of Antonio Núñez “El Pulga” and Ismael de la Rosa “El Bola”.
It is an especially interesting proposal for anyone who wants to observe the relationship between a deeply established dance school and today’s codes of dance. Losa has built much of his identity precisely in that tension: preserving a recognizable verticality and way of dancing while placing them within contemporary structures.
Teatro Central welcomes at 10:30 pm the world premiere of Poema de la libertad, with Sandra Carrasco singing and David de Arahal on guitar.
The creation takes as its starting point the figure of Pepe Marchena, a decisive artist for understanding an open and personal way of developing flamenco singing. The cast also includes José Maldonado in dance, Juan Parrilla on flute, Bernardo Parrilla on violin, percussion and a large group of palmas and backing voices.
The result promises a look at Marchena not through literal reproduction, but through the freedom his figure represents. For a final Friday of the Biennial, it is a very coherent way of closing the circle between memory, reinterpretation and new creation.
The Biennial ends on Saturday, October 3 at 8:00 pm at Teatro de la Maestranza with Carmen Linares and Perlas a millares, a Noche Única celebrating the 30th anniversary of Antología de la Mujer en el Cante.
Carmen Linares is joined as guest artists by Marina Heredia, María Terremoto, Rocío Luna and Rafaela Carrasco. The concept revives a fundamental work in reclaiming the memory of numerous female flamenco singers and creators.
The announced program moves through fandangos, rondeña, alegrías and cantinas, tientos, bamberas, Huelva fandangos, granaína, malagueña, taranta, bulería por soleá, tangos, seguiriyas, bulerías and tonás, linking styles with names such as La Niña de los Peines, La Serneta, La Trini, La Repompa and Tía Marina Habichuela.
The choice of Carmen Linares to close the edition has a clear meaning within this final week as a whole. Many of the performances from September 28 to October 3 look toward artists, repertoires and genealogies that have built flamenco: Manuel Vallejo, Pepe Marchena, Los Parrilla or the women gathered in Carmen Linares’s anthology.
But the closing night is not limited to commemoration. The guest artists connect different generations and bring that memory into the present. That is why Perlas a millares works not only as a tribute, but as a form of transmission between artists that neatly sums up one of the Biennial’s major themes.
We have already dedicated a specific guide to this show: Carmen Linares will close the 2026 Biennial: Perlas a millares.
Across six days there are fewer overlaps than in previous weeks, but it is still better to choose a line of interest than to try to see everything.
Sep. 28: Farruquito
Sep. 30: Mayte Martín
Oct. 1: Marina Heredia
Oct. 3: Carmen Linares
A very direct route for anyone who wants to close the Biennial with leading names and main stages.
Sep. 28: Por Vallejo
Sep. 30: Mayte Martín or Capullo + José de los Camarones
Oct. 2: Poema de la libertad
Oct. 3: Carmen Linares
The most coherent selection for following repertoire, genealogies and different ways of reading tradition.
Sep. 28: Farruquito
Sep. 29: David Coria or Sara Jiménez
Oct. 2: Alfonso Losa
A route that moves from large-scale flamenco to company creation and a contemporary reading of dance.
Sep. 28: Por Vallejo
Sep. 30: Los flamencos no van a la barbería
Oct. 1: Herencia
Oct. 3: Perlas a millares
Ideal for anyone who prioritizes encounters and formats that are difficult to repeat with the same combination of artists.
On the calendar, from September 28 to October 2 there are five nights with one performance at 8:00 pm and another at 10:30 pm. That may tempt you to book both, but caution is advisable.
A large-scale performance can approach or exceed two hours. You also need to add applause, leaving the venue, travel and access to the next theater. Therefore, we do not recommend buying a second performance simply because there is a two-and-a-half-hour gap.
The Lope de Vega and Alameda are in relatively nearby areas of the city center, but Teatro Central is on Isla de la Cartuja and requires more margin. The Maestranza also requires careful calculation of exit and travel time to the Alameda.
The rule is simple: if the second performance is essential for you, first check the actual duration of the first or book different nights.
A balanced selection could be Farruquito to see a major dance premiere, Mayte Martín for a proposal centered on singing and repertoire, and Carmen Linares to experience the official closing of the Biennial.
If you are looking for contemporary creation, we would replace one of those events with David Coria, Sara Jiménez or Alfonso Losa. If your absolute priority is flamenco singing, we would build the route around Por Vallejo, Mayte Martín, Poema de la libertad and Carmen Linares’s closing night.
There is no single correct way to finish the Biennial: these final days are designed precisely for very different audiences.
For a first experience, I would try to combine three scales: a major theater, a Noche Única and a show that engages with the history of flamenco.
For example, Farruquito at the Maestranza, Herencia at the Alameda and Carmen Linares on the final day offer three different experiences without turning your schedule into a race.
And if a performance is sold out, that does not mean you have to go without flamenco that night. Seville maintains a stable program of tablaos and shows outside the Biennial. You can consult our guide to flamenco in Seville during the Biennial outside the official program.
The Biennial ends, but flamenco in Seville does not. The city’s tablaos continue to offer daily performances throughout the year and are also an especially useful option for visitors arriving just after the festival or unable to get tickets for one of the final performances.
If you are staying in Seville after Saturday, October 3, we have prepared a specific guide with alternatives for continuing to see flamenco after the Biennial.
You can also go directly to our page on flamenco in Seville, compare shows and arrange a booking for the date you need.
The 24th Seville Flamenco Biennial ends on Saturday, October 3, 2026. The closing performance begins at 8:00 pm at Teatro de la Maestranza.
The official program includes 11 performances between Monday, September 28 and Saturday, October 3, 2026.
Farruquito presents Serás Farruquito: el musical on Monday, September 28 at 8:00 pm at Teatro de la Maestranza. It is a world premiere.
Mayte Martín presents Arqueología de lo puro on Wednesday, September 30 at 8:00 pm at Teatro Lope de Vega, accompanied by José Gálvez on guitar.
On Thursday, October 1, Marina Heredia is scheduled with the Royal Seville Symphony Orchestra in ¡En libertad! El camino de los gitanos at 8:00 pm at the Maestranza, and Herencia by Los Parrilla with Diego Carrasco and Carrete de Málaga at 10:30 pm at Teatro Alameda.
Alfonso Losa premieres Gesto mínimo on Friday, October 2 at 8:00 pm at Teatro Lope de Vega.
The closing performance is led by Carmen Linares with Marina Heredia, María Terremoto, Rafaela Carrasco and Rocío Luna in Perlas a millares, on Saturday, October 3 at 8:00 pm at Teatro de la Maestranza.
On several days there is one performance at 8:00 pm and another at 10:30 pm, but the combination is not guaranteed. Check the actual duration, exit time and travel before buying both tickets.
The safest option is to go to the official Biennial program, open the page for each show and use the corresponding official sales channel from there.
Seville’s tablaos continue to offer performances throughout the year. You can consult our guide to flamenco after the Biennial or compare options for flamenco in Seville.
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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