.:: La Paz Universal o El Lirio y la Azucena ::.

The ambitious production of the Fundacion Caja Madrid stages one of the most beautiful autos sacramentales of the Spanish 17^th century: La Paz Universal o El Lirio y la Azucena, by Calderon de la Barca and music by Jose Peyro, performed in 1660 to celebrate the Treaty of the Pyrenees and the marriage of Maria Teresa, daughter of king Philip IV to Louis XIV of France.

We have been able to count on an excellent team composed of specialists from various disciplines such as literature, history, music, dance, public speaking, stage research and stage creation. The historically-informed staging is directed by Juan Sanz, with the ebullient choreography of Ana Yepes and musical direction of Albert Recasens.

In the staging participate actors, singers, instrumentists and dancers. They all work to create a festival of varying shades and registers, finely tuned to interpret the one and only spectacle. They convey exactly the sublime text of Calderón and also the original musical score which, luck has it, has been preserved in the Novena Manuscript. The awe-inspiring sets, the baroque dances and the splendid costumes are essential components in creating the baroque spectacle of the senses.

The 47^th Semana Religiosa de Música de Cuenca opens with the modern-day premier of the auto La Paz Universal performed by La Grande Chapelle and Antiqua Escena		promotional brochure
The ambitious production of the Fundacion Caja Madrid stages one of the most beautiful autos sacramentales of the Spanish 17^th century: La Paz Universal o El Lirio y la Azucena, by Calderon de la Barca and music by Jose Peyro, performed in 1660 to celebrate the Treaty of the Pyrenees and the marriage of Maria Teresa, daughter of king Philip IV to Louis XIV of France. We have been able to count on an excellent team composed of specialists from various disciplines such as literature, history, music, dance, public speaking, stage research and stage creation. The historically-informed staging is directed by Juan Sanz, with the ebullient choreography of Ana Yepes and musical direction of Albert Recasens. In the staging participate actors, singers, instrumentists and dancers. They all work to create a festival of varying shades and registers, finely tuned to interpret the one and only spectacle. They convey exactly the sublime text of Calderón and also the original musical score which, luck has it, has been preserved in the Novena Manuscript. The awe-inspiring sets, the baroque dances and the splendid costumes are essential components in creating the baroque spectacle of the senses.