By Judi Jordon for LATIN HEAT

In Spain, the legacy of poet, playwright and political martyr Federico García Lorca (1898–1936) is ever-present—etched into the hearts of artists across generations. Liberal, openly gay, and vocal supporter of the Spanish Republic, Lorca was executed without trial by firing squad at the Andalusian natural spring, Ainadamar; Arabic for “Fountain of Tears”. Lorca’s physical body was never found but his magnificent work; poetry, drama, and prose includes over a dozen major plays, including the iconic Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936)—a trilogy that delves into themes of repression, honor, and female agency in Andalusian society. His poetry “Gypsy Ballads” (1928) and “Poet in New York” (published posthumously in 1940) deftly blend Gitano and modern concepts, with symbolism, passion and Andalusian visions. 

Lorca’s Spanish romanticism and avant-garde surrealism are an integral force in 20th-century literature. A perfect subject for OPERA as song and dance were such a huge part of Lorca’s life canvas. Today his tragic end has a chilling resonance, one felt profoundly in L.A. OPERA’S masterful production of Ainadamar. And there was only one man to translate this legacy into dance Antonio Najarro. 

Much-awarded, the delightful Najarro is a notorious perfectionist and Mr. 110%. “When auditioning dancers he looks for the ‘complete package’ and may see 500 dancers to find just one that can fluidly execute his unique vision; in Ainadamar that translates to ballet, flamenco and modern dance, all seamlessly woven into the narrative. 

For Spanish superstar, choreographer and former director of Ballet National of Spain, Antonio Najarro, Lorca’s work isn’t merely an influence; it’s a spiritual force, a cultural flame that continues to inspire across borders and mediums. After an impressively smooth tech rehearsal in the Dorothy Chandler Pavilion, perfectionist Najarro took a breath and a break to share his passion for Lorca, teamwork, crafting unforgettable dance, and what drives him to the edge. 

Collaborating with conductor Lina González-Granados on Ainadamar, Najarro found an ideal partner—open, intuitive, and rhythmically attuned to flamenco’s complex timing. “It’s not easy for an orchestra to follow flamenco,” he says. “But Lina embraced every challenge. She loves dance, and that makes everything easier.”

“Every artist in Spain, at some point, ‘touches’ Lorca,” Najarro says. “We are always speaking about him—his poetry, his thinking. He left his message open to interpretation. You can do many versions of his poems, and I love that.” Najarro recently returned from a sold-out run in Madrid with his namesake dance company’s critically acclaimed production, Romance Sonámbulo at Teatro MIRA de Pozuelo de Alarcón in Madrid, inspired by one of Lorca’s most haunting poems. 

For Ainadamar Najarro leans into Lorca’s dreamlike mysticism, crafting a spiritual, non-terrestrial piece that seduces audiences through night, moonlight, and mystery. “It’s not traditional,” he explains. “It’s something deeper—more emotional, more expressive.”

Najarro’s undeniable artistry incorporates and punctuates the subtle and surreal tone perfectly as Ainadamar portrays Lorca’s final days and his impassioned yet doomed relationship with actress Margarita Xirgu. 

Directed by Brazilian choreographer Deborah Colker, the opera has traveled from Glasgow and Detroit to the Metropolitan Opera and now to Los Angeles. “This opera is not only about Lorca’s life—it’s about emotion,” Najarro says.  “The singers dance, the dancers act, everything is expression.”

Expression is the engine of Najarro’s philosophy—tempered always by rigorous technique. Whether it’s flamenco, ballet, or contemporary dance, his performers are required to master diverse movement styles with both precision and passion. “For my company, dancers must be very versatile,” he explains. “My choreography is elegant, technical, but it must also be pure. I need their footwork, their castanet technique—it’s like playing an instrument.” Working in harmony with Grammy-winning composer Osvaldo Golijov, Najarro emphasized the importance of understanding the emotional reasoning behind each composition.

Instrumentality comes alive in Ainadamar, particularly in the striking opening solo piece that blends flamenco footwork with modern movement atop a table, backed by flamenco percussion and electronic soundscapes. “It’s the bullfight,” Najarro says. “The strength, the risk, the image of the bull. Lorca loved that tension between life and death. That’s what this choreography is.”

Tickets at https://laopera.org/performances/2025/ainadamar

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By Cris Franco 

Two of my most accomplished friends will be sharing the virtual stage in The Soraya Presents Nochebuena en Casa (Christmas Eve at Home). Hosted by award-winning producer Dan Guerrero and with musical performances by East L.A. native, one of the original Associate Artist of the L.A. Opera Los Angeles Emmy-winner and mezzo-soprano, Ms. Suzanna  Guzman. This event will surely put lots of Feliz in your Navidad! I got the talented pair (who are themselves longtime besties) to take a break from their Speedy Gonzalez work schedules to answer some pertinent questions about art in the age of Covid, the term “Latinx” and their upcoming Nochebuena en Casa.

CRIS FRANCO: I recall that Dan and I met decades ago at a very classy, black-tie only, cockfight behind the Kennedy Center — but how did you two (Dan & Suzanna) meet? 

DAN GUERRERO: Honestly can’t recall. She just has always been. You know. Like Cher. Or the Grand Canyon. (beat…then) Actually, I was casting the last national tour and Broadway production of The King and I for Yul Brynner. SuzGuz came to an open call and I cast her. I was thrilled to have a Chicana on Broadway. It was the late 80s.

SUZANNA GUZMAN: Yes, Dan cast me as Amazon #2.  

CF: You’re Amazon #1 in my book, Suzanna! Dan you’re a performer/writer/producer/ZOOM host. Suzanna you’re all that plus an educator, TV host and opera diva. You’re both such multi-faceted artists – what do you consider yourself primarily? 

SG: I am an opera singer. My career has taken me to some outstanding international venues. My work in theatre, radio and TV is a straight line from performing.

DG: What am I? Today I’m introduced as an artist/producer/activist. I guess that wraps it up fairly well. I do consider myself an artist both as a writer and performer. Certainly a producer of many years. And am proud of my activist work for both the Latino and LGBTQ+ community using the arts as my tool. 

CF:  And lots of artists are participating in this year’s Nochebuena: “The Queen of Ranchera” Aida Cuevas along with Ballet Folklórico de Los Ángeles, Mariachi Garibaldi de Jaime Cuéllar, Las Cafeteras, plus José “Pepe” Martínez Jr. and Susie García.  Have you participated in other productions at the Soraya? 

DG: Yes. I love the Soraya. The Exec Director, Thor Steingraber, is phenomenal. I so admire the diversity he brings to his stage and how he treats every visiting artist like a star. Class act. I first was on that stage in Conversation with Linda Ronstadt. I later directed an evening of political humor headlined by Culture Clash. But, my favorite was directing the mariachi opera Cruzar la Cara de la Luna featuring Suzanna Guzman!

SG: Ditto with Dan about loving the Soraya where I was in A Tribute to Leonard Bernstein, the opera Cruzar la Cara de la Luna directed by Dan Guerrero, A Wine with Stewart Copeland and Diavolo’s Jacques Heim. I have performed my children’s show Don’t Be Afraid, It’s Just Opera. But my greatest joy is that I performed in the groundbreaking ceremony with Federica von Stade singing “Take Care of  this House” in a show called Flick and Friends.

CF: How would you describe the upcoming Nochebuena en Casa? 

DG: It is truly an uplifting celebration of the season. And if we ever needed a lift and an early Christmas spirit, this is it. The acts are amazingly talented and the event is very personal. Because of this challenging time, it was only the mariachi and the folkloric dancers on the great stage with no audience, of course. All the other artists sent special performances filmed at their homes. I am honored to host it. 

SG: Nochebuena en Casa is what we need right now: a celebration of life in this time of COVID. As a singer we need to train even while home bound. And nothing reflects family and friends more than lifting our voices in song. For me that means singing with someone in harmony. 

CF: Aside from the fact that it’s totally and utterly free, why else should people stream Nochebuena en Casa? 

SG: More than a stream, Nochebuena en Casa is a way for the world to see that you cannot keep art down. That its expression is like a phoenix rising out of any circumstance. [pullout]

CF: Is there an upside to the devastation the pandemic has wrought upon live performances? 

SG: No.

DG: Well, maybe. So many artists are reinventing how they present their work without a stage or audience. It’s fascinating and complex. Of course, you can’t duplicate the adrenaline of a live audience and performance. The back and forth of electric energy. But dancers, singers, musicians, actors, are all finding new ways to reach their audience. A recent NY Times article featured a choreographer who was now staging for the camera and not simply filming a dance piece originally conceived for the stage. And the argument is raging, if it’s filmed how can it be a play? It’s a “film” of a play. It dicey. But in the end, I think some very interesting work will come out of this horrific time.

CF: How have you filled your days during our stay-at-home orders? 

DG: My friends laugh at my flourishing pandemic career. I have had an extremely busy year. Non-stop. I barely have time to do it all. Trust me, I’m not sitting home watching daytime TV or cleaning out my closet to have something to do. I am blessed.

SG: I am the co-director of The Opera Company at LACHSA. I hold online rehearsals and scour the world to find  COVID-safe places where we can perform live. I have even become a certificated COVID 19 Compliance Officer for this reason. So, I’m a busy girl.

CF: Danny, you’ve been in show biz a long time. How long?  On the First Day when God created the light, it was you, Dan, who told God to “put a gel on it!”  What is the secret to a long-lasting career?

DG:  Say yes to (nearly) everything. You never know where it might lead. Look at the big picture, not just the immediate. Stay in the game if you really want to play. Treat everyone well, not only because it is the right thing to do, but you never know where today’s receptionist is going to be in five years. Stay relevant. I just turned 80 last October and I’m still in the game, dancing as fast as I still can, busier than ever. I’m enjoying being a veterano who has seen it all and lived to tell the tale.

CF:  Suzanna, there are two kinds of Chicanos: corn and flour. Which kind are you? 

SG: I am Keto. So technically, neither. But my quesadillas are corn and my tortillas with butter are flour.

CF: A delicious answer. In just my short (don’t laugh) lifetime we’ve gone from Mexican-Americans to Hispanics to Chicanos to Latinos – and now were non-binary “Latinx.” What do you think of the term “Latinx” —  doesn’t it sound too much like “Kleenex”?

SG: I am American, of Mexican American descent and I like the word Latina. I am not Latinx as for some reason that makes me think of my bra size.

DG: I continue to resist “Latinx.” Sounds trendy and I understand that the meaning of it is solid and I agree with its definition. But the actual word bugs me. I consider myself an American Mexican. That’s right. Not Mexican-American. I am an American first. But fiercely proud of my Mexican heritage. It’s complex. After all, look at all the countries in the Americas. So, aren’t we all Americans?  

CF: Absolutely. I’m as American as tamale pie. Hey, once this pandemic is under control, how can we get more Latinos to attend live theater?

SG: Speak to them where they live. I revamp operas so they are told bilingually and are more accessible to the audience. The Spanish-Speaking American comes from so many diverse backgrounds it is impossible to capture their experience in a single sitcom. Honestly the only time I ever saw myself was in a series called East Los High and the other was The Big Bang Theory because it took place in Pasadena, CA where my family is third gen. But, the number one barrier to Latinos attending live theater is cost. Make it affordable. Bring it where they live. Make it excellent.

CF:  What advice do you have for someone considering a career in entertainment?

SG: Love it– even when you don’t get paid for it. Especially when you don’t get paid for it. As an artist, it is about mastering your own craft. Nurturing your own creativity and finding the way that can best express your heart to the world. Cause we connect through our heart. And if that means we have a parallel career as an accountant, a radio host, a waitress, a teacher, that career each one informs the other. Infuses the other with the same creative passion.

DG: I’m always leery about giving advice. What worked for me may not work for someone else. Everyone is on their own journey and has to find their own way. But I will say this, the arts is a calling. Don’t go into it unless you are answering the call. It’s more than a choice. 

CF: My career advice? Expose yourself to great art and study why it moves you. A good start would be streaming Nochebuena en Casa – am I great at PR or what?! 

Nochebuena en Casa starts streaming Friday, December 18 @ 5pm. For more Information CLICK HERE

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