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Teatro de Nieve

implausible productions company

teatro de nieve

Teatro de Nieve is the result of the creative partnership of two of the most talented and versatile artists of the new theatrical wave; composer Sergio Camacho and groundbreaking stage director Luis Ortega. Both original from Spain, both promising writers in their beginnings, their two creative careers diverted from the Spanish creative arts scene to converge years later in the effervescent artistic arena of Newcastle upon Tyne, Sergio Camacho settled as one of the more distinctive voices of a new generation of composers and Luis Ortega combining his double professional career as a countertenor singer and stage director. The Opera ‘Three Word Poem About Loss’, words and music by Sergio Camacho, was their first common production, which summarized on a stage the overwhelming creative personality of its creators; Camacho’s poetic language translated into movement by Ortega. Colour, texture, rhythm, subtlety and passion embroidering notes, lights, voices and dance.

But they also have the qualities that single out success from talent; artistic personality, irresistible determination and the all too rare ability of gathering around them the very best of international artists, starting with the acclaimed tenor and multifaceted artist Mariano Otheguy, and the hundreds of professionals involved in their projects, in the creative and technical teams, actors, singers, dancers and the members of their resident ensembles, Spanish&Latin Folk and Fusion band Luna de Mayo and the Selenia Orchestra.

The best question after a great performance is what will be next. The best answer for that question was and is Teatro de Nieve itself. Camacho’s Contemporary Zarzuela ‘Beyond the Milestone’, Kuala Lumpur revival of ‘The Mikado, a COMIC opera’, the live score film ‘The Equivocal Mirror’, a New Music program by the Selenia orchestra, or the show ‘Olvido, a Desperate Call for Oblivion’, in collaboration with the Luna de Mayo. All of them are offsprings of the unique talent of two names under three words. Teatro de Nieve.

gallery of works

beyond the milestone

Three-Word Poem about Loss

Vamos festival's Review

This was the latest offering from Sergio Camacho, a young Spaniard who, since his arrival four years ago, has been causing ripples on the Tyne with his many-sided hyperactivity. How much jouleage can a human being generate? For all along, in amongst everything else, Camacho has been doing the real work of his life: he has been composing music. And writing the lyrics for it. (…) I got to attend the première on 9 June, which was, and sorry if the story seems to get a bit implausible, only the second part of a two-nighter, something which had already been performed the previous night, but in a different form, in a folk-oriented incarnation involving yet another of Camacho’s creatures, a group named Luna de Mayo. Having only finite time to follow this vertiginous career, I missed the first and attended the second, the opera Three Word Poem About Loss.

Departure. Insomnia. Oblivion.

As soon as the show started, the impression was one of taut, serious-minded concentration. No ordinary effort here: Luis Ortega’s thoughtful stage direction elicited committed performances from each of the actor-singers, providing an atmosphere of tense introspection throughout. The characters are The Father, embodied in his corporal dimension by dancer Yuvel Soria and in his spiritual persona by baritone Simone Marchesini; the mother, represented as a body by dancer Rosa Stourac McCreedy and as a soul by soprano Teresa Magnowska, and the son, enacted as an adult by Mariano Otheguy and as an infant by Jacob Robson. Presiding over this trinity is The Moon, in the form of countertenor Luis Ortega providing a hauntingly characterised presence. To one side of the minimalist stage was the small orchestra, conducted by guess who. The whole outfit looked right, in size and nature, for the Caedmon Hall auditorium.

The production rode with surprising ease astride the language divide, thanks to the printed programme, providing every word of the sung text with English translations, thanks also to the compellingly expressive delivery by everyone on stage, and thanks to the distinctive structure where the same story is told twice, from two different perspectives. (…) But the strongest impression I came out with was that of a creative talent ready to produce its best creative results. Camacho has done an impressive job, especially by surrounding himself with a committed team of serious-minded performers and support personnel. If he can focus more of his impressive energies on this project there is no telling how far he can go.

VAMOS festival