The heroines in operas and ballets often die in the end, usually at the hands of a jealous man. Bizet’s Carmen is no different, even in Gustavo Ramírez Sansano’s 21st-century dance version. But from the stage and costume design to the movement style, the choreographer has radically remade the look and feel of this timeless tragedy.

Renamed CARMEN.maquia — a takeoff on “tauromaquia,” the Spanish word for bullfighting — a newly expanded version of Sansano’s 2012 work is premiering in Dallas, presented by TITAS/Dance Unbound. The piece will be performed by the long-running, New York-based Ballet Hispánico.

The shows come during a couple of notable Carmen anniversaries. The title character, a fiery, independent minded woman who jilts her lover, the soldier Don José, for the toreador Escamillo, was conceived in 1845 — 180 years ago — by French writer Prosper Mérimée. Then, 150 years ago, in 1875, French composer Georges Bizet turned Mérimée’s novella into an opera that may have peaked in popularity but is still regularly performed today.

Carmen made the jump to the dance world in 1967 when the National Ballet of Cuba premiered artistic director Alberto Alonso’s one-act Carmen Suite, with Bizet’s music rethought by Russian composer Rodion Shchedrin. For CARMEN.maquia, Sansano has supplemented the opera’s 35 minutes of nonvocal music with pieces of other Bizet compositions as well as Pablo de Sarasate’s 1881 adaptation Carmen Fantasy.

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I talked to Eduardo Vilaro, Ballet Hispánico’s artistic director and CEO, about CARMEN.maquia. The interview has been edited for length and clarity.

Why has Carmen endured for almost two centuries after it was created?

The character evolved into a symbol of female strength, and the narrative became deeply embedded in popular culture.

We continue to confront certain troubling themes: the woman, once more, meets her demise. She is portrayed negatively. However, my intention is to cast her as a hero, even in her death. She is taking control of her own fate. This character challenges societal norms and defies the expectations placed on her by a patriarchal society regarding female behavior. It highlights the importance of acknowledging that women's strength has existed throughout history, rather than being a fleeting phenomenon.

In what ways does the design diverge from conventional depictions of southern Spanish culture?

This piece of art moves away from the typical symbols we often associate with it: the vibrant red dresses, the rhythmic castanets, and the dashing toreadors adorned with hats. While there is an element of machismo present, it deviates from the familiar portrayals we're used to. Instead, it strips away the embellishments of iconic imagery and focuses on the essence of the love story. The characters are depicted in a deeply human manner.

This ballet, presented in striking black and white, pays homage to the remarkable artist Picasso, highlighting his iconic black, white, and blue periods. Elements of this aesthetic are woven into the scenic design. Picasso was known for challenging traditional forms of representation in art.

The dance routine takes a surprising turn. It has a modern feel, featuring pronounced angles and abundant hand movements. The movements don’t transition smoothly as one might anticipate.

Gustavo operates in a unique manner. He has a strong aversion to stereotypes. His style of movement is distinctly personal. It communicates a message: “I am Spanish, yet I don’t conform to the typical movements you associate with my culture. I express myself this way, and it remains true to the essence and traditions of my heritage.”

With the title, CARMEN.maquia, he’s suggesting that she’s like a bull.

The issue lies in the fact that, in the end, a bull meets its demise at the hands of a human. This metaphor is truly captivating.

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Is Carmen still relevant in 2025?

Simply scroll through TikTok, and you'll notice a fascination with intense drama. Love triangles capture people's attention like never before. This trend is prevalent on television as well, where audiences engage with and criticize characters relentlessly. Women, in particular, continue to face judgment based on their romantic choices and their desire for independence.

I believe it holds significant importance, particularly in light of the ongoing conversations about power dynamics. It serves as an additional opportunity for the audience to pause and think, “That was terrible. How could that occur? We must ensure it doesn’t happen again.”

Information

Jan. 24 at 8 p.m. and Jan. 25 at 2 p.m. and 8 p.m. at Moody Performance Hall, 2520 Flora St. $26-$76. attpac.org.