{"id":6130,"date":"2025-10-02T14:49:53","date_gmt":"2025-10-02T12:49:53","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=6130"},"modified":"2025-10-02T14:49:53","modified_gmt":"2025-10-02T12:49:53","slug":"claves-para-entender-y-disfrutar-un-musical","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/claves-para-entender-y-disfrutar-un-musical\/","title":{"rendered":"Claves para entender y disfrutar un musical"},"content":{"rendered":"

Con la temporada de musicales arrancando, aqu\u00ed tienes una gu\u00eda r\u00e1pida para disfrutar y entender cada funci\u00f3n al m\u00e1ximo.<\/h3>\n

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Los tipos de canciones en el musical<\/strong><\/h4>\n

Desde su propio nombre, \u2018teatro musical\u2019, queda claro que la m\u00fasica es la fuerza que articula los elementos distintivos de este g\u00e9nero. No solo impulsa la interpretaci\u00f3n de los actores, sino que tambi\u00e9n gu\u00eda la coreograf\u00eda y da forma a las letras, convirti\u00e9ndose en el hilo conductor de toda la experiencia esc\u00e9nica.<\/p>\n

Por tanto, al hablar de teatro musical, lo primero que viene a la mente es la m\u00fasica en su forma m\u00e1s pura: las canciones. Aqu\u00ed la trama se desenvuelve gracias a ellas, en cuanto a emoci\u00f3n e historia. Son las que facilitan una conexi\u00f3n m\u00e1s inmediata entre p\u00fablico y personajes y argumento.<\/p>\n

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Ahora bien, no todas las canciones son iguales. Scott Miller (2000) explica que la m\u00fasica en un musical no solo entretiene y que cada n\u00famero debe hacer avanzar la historia o profundizar en los personajes<\/strong>. Esto significa que la canci\u00f3n tiene un prop\u00f3sito narrativo concreto, m\u00e1s all\u00e1 de la melod\u00eda o el espect\u00e1culo visual.<\/p>\n

De esta forma, Miller se refiere a distintas tipolog\u00edas de canciones<\/strong> con respecto a su funci\u00f3n. Por ejemplo, la hist\u00f3rica \u201cI Want Song\u201d<\/strong>, que marca el arco narrativo del protagonista desde el primer acto, expresa su deseo central y establece el conflicto emocional: Somewhere Over the Rainbow<\/em> en El Mago de Oz<\/em> o Think of Me <\/em>en El Fantasma de la \u00d3pera<\/em><\/strong><\/a>. Adem\u00e1s, suele haber una canci\u00f3n de apertura<\/strong> que presenta el contexto, el tono y los personajes; un n\u00famero de cl\u00edmax<\/strong>, donde la intensidad llega al m\u00e1ximo y el conflicto alcanza su punto cr\u00edtico (Defying Gravity<\/em> en Wicked<\/em>); y, por \u00faltimo, est\u00e1 la canci\u00f3n de cierre<\/strong>, suele ser la resoluci\u00f3n del conflicto y est\u00e1 pensada para dejar una impresi\u00f3n duradera (Seasons of Love<\/em> en Rent<\/em>).<\/p>\n

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Cada una de estas canciones y estos patrones estructurales ayudan al espectador a orientarse dentro de la trama y a conectar con los personajes en un nivel m\u00e1s cercano. Sin embargo, como toda teor\u00eda, no es una f\u00f3rmula r\u00edgida. Un buen ejemplo es Cabaret<\/em><\/strong><\/a>: la canci\u00f3n que m\u00e1s se acerca a una \u201cI Want Song\u201d es Maybe This Time<\/em>, pero aparece ya avanzada la obra y, en lugar de expresar deseo inicial, se acerca m\u00e1s a una revelaci\u00f3n tard\u00eda de Sally Bowles, una toma de conciencia.<\/p>\n

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Personajes y psicolog\u00eda musical<\/strong><\/h4>\n

Laurence Maslon (1980) se\u00f1ala que letra y m\u00fasica funcionan como extensi\u00f3n de la psicolog\u00eda de los personajes<\/strong>. Cuando las palabras no son suficientes, surgen las letras y la m\u00fasica. En ese momento, el personaje necesita poder expresarse de una manera m\u00e1s profunda: cada n\u00famero musical revela emociones, deseos y conflictos internos. Por eso, la escucha atenta<\/strong> sigue siendo indispensable en estos puntos de la obra.<\/p>\n

As\u00ed sucede con La Vie Boh\u00e8me<\/em>, en Rent<\/em>, canci\u00f3n casi manifiesto sobre un modo de pensar y sentir generacional que celebra la vida bohemia y la libertad. En otro registro, Poor Unfortunate Souls<\/em>, de La sirenita<\/em>, ofrece un intento de autohumanizaci\u00f3n por parte de la villana, un n\u00famero que gana fuerza precisamente por el contraste con la ingenuidad de Ariel. Son canciones que exigen la atenci\u00f3n activa del espectador, porque en ellas se condensan claves esenciales para comprender el verdadero sentido de la historia.<\/p>\n

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Coreograf\u00eda y puesta en escena<\/strong><\/h4>\n

La mirada del espectador debe abarcar tambi\u00e9n la coreograf\u00eda y la escenograf\u00eda. Ning\u00fan elemento es gratuito: cada gesto, cada espacio y cada movimiento contribuyen a construir la trama y los personajes. Un dise\u00f1o esc\u00e9nico o una coreograf\u00eda que no est\u00e9n al servicio de la historia empobrecen la riqueza narrativa de la obra.<\/p>\n

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El decorado<\/strong>, la iluminaci\u00f3n<\/strong> y el vestuario<\/strong> son tambi\u00e9n fundamentales como relatos complementarios en s\u00ed mismos, funcionan como gu\u00eda de lo que va ocurriendo y c\u00f3mo debe interpretarse. Por ejemplo, los pasos de baile en West Side Story<\/em> reflejan los conflictos entre bandas y tensiones sociales. En la nueva propuesta de Cabaret<\/em><\/a><\/strong>, producida por LETSGO<\/a><\/strong>, la disposici\u00f3n del p\u00fablico en mesas sobre el escenario y la interacci\u00f3n directa con los personajes transforma la coreograf\u00eda y la puesta en escena en una experiencia \u00edntima y participativa.<\/p>\n

Todos estos detalles invitan al p\u00fablico a estar alerta: a observar qu\u00e9 ocurre, c\u00f3mo sucede y por qu\u00e9, convirtiendo la experiencia teatral en un acto de curiosidad consciente y participativa.<\/p>\n

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Pero, \u00bfpor d\u00f3nde empezar?<\/strong><\/h5>\n

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Consejos pr\u00e1cticos para disfrutar un musical<\/strong><\/h4>\n

Identifica el deseo central del protagonista:<\/strong> Cada gran musical se centra en alg\u00fan conflicto u objetivo que gu\u00eda la historia. Si logras identificarlo, podr\u00e1s detectar las motivaciones de los personajes y c\u00f3mo la trama se construye en torno a ello.<\/p>\n

Sigue la integraci\u00f3n de m\u00fasica, danza y escenograf\u00eda:<\/strong> Observa c\u00f3mo coreograf\u00eda, vestuario, iluminaci\u00f3n y decorado funcionan juntos para contar la historia y transmitir emociones.<\/p>\n

Puedes sentir y analizar a la vez:<\/strong> Escucha las letras, mantente atento a los movimientos y el lenguaje corporal de los personajes, mientras intentas entender c\u00f3mo se va configurando la historia.<\/p>\n

Presta atenci\u00f3n a las \u201cI Want Songs\u201d:<\/strong> Como comentamos al inicio, son las canciones en las que el protagonista expresa sus deseos m\u00e1s profundos y marcan el motor de la acci\u00f3n. Detectarlas ayuda a comprender la direcci\u00f3n emocional de la obra.<\/p>\n

F\u00edjate en los personajes secundarios y el ensemble:<\/strong> No debes prestar atenci\u00f3n solo a los protagonistas; los personajes secundarios y el coro suelen aportar contexto, humor, contraste o claridad narrativa a trav\u00e9s de gestos, alguna l\u00ednea o matiz durante cada n\u00famero musical.<\/p>\n

Observa los patrones recurrentes:<\/strong> Algunas obras repiten motivos musicales, coreogr\u00e1ficos o visuales para reforzar ideas o emociones. Descubrirlos te ayuda a anticipar la narrativa y disfrutar de su coherencia.<\/p>\n

Vive la experiencia colectiva:<\/strong> Presta atenci\u00f3n a c\u00f3mo reacciona el resto del p\u00fablico y c\u00f3mo la obra interact\u00faa con \u00e9l. En musicales inmersivos o con elementos participativos, tu percepci\u00f3n forma parte de la experiencia.<\/p>\n

No temas perder detalles:<\/strong> A veces la acci\u00f3n se desarrolla simult\u00e1neamente en varios espacios o con varios personajes. Observar, escuchar y moverte mentalmente entre escenas te permite captar la riqueza completa del musical.<\/p>\n

D\u00e9jate llevar por la energ\u00eda colectiva:<\/strong> Aplaudir despu\u00e9s de un gran n\u00famero o en los saludos finales forma parte de la experiencia compartida.<\/p>\n

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Tener herramientas marca la diferencia en c\u00f3mo se viven ciertas experiencias. En el caso del teatro musical, estas pautas no son reglas fijas, sino una gu\u00eda para disfrutar la obra de una forma m\u00e1s personal, intensa y enriquecedora. Al fin y al cabo, cada funci\u00f3n es \u00fanica y siempre abre la puerta a lecturas muy distintas.<\/p>\n

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Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 2 de octubre de 2025<\/p>\n

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\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Con la temporada de musicales arrancando, aqu\u00ed tienes una gu\u00eda r\u00e1pida para disfrutar y entender cada funci\u00f3n al m\u00e1ximo.     Los tipos de canciones en el musical Desde su propio nombre, \u2018teatro musical\u2019, queda claro que la m\u00fasica es la fuerza que articula los elementos distintivos de este g\u00e9nero. No solo impulsa la interpretaci\u00f3n […]<\/p>\n","protected":false},"author":12,"featured_media":6150,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"off","_et_pb_old_content":"

[et_pb_section][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text]<\/p>

We sat down with Valerio Tiberi to talk about creativity and technique in stage lighting.<\/h3>

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Theatre (\u2026) is the only place where you can rediscover darkness.<\/p><\/blockquote>

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Valerio Tiberi is one of the most sought-after lighting designers in the European theatre scene. His professional range spans from opera productions in emblematic venues like the Op\u00e9ra Bastille in Paris and Teatro alla Scala in Milan, to international musicals such as The Phantom of the Opera<\/em><\/a><\/strong>, Cabaret<\/em><\/a><\/strong>, or West Side Story<\/em>; ballet (A Thousand Tales<\/em>, Alice in Wonderland<\/em>, etc.), and haute couture fashion shows for brands like Valentino and Dolce & Gabbana. He has received numerous awards, including the Italian Musical Oscar and Best Lighting Design.<\/p>

His work strikes a natural balance between technical precision and aesthetic sensitivity \u2014which is no small feat. In this interview, he opens up about his creative process, his reflections, and the challenges of lighting vastly different worlds: the theatre stage and the fashion runway.<\/p>

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The challenge of lighting a classic<\/strong><\/h4>

Tiberi recalls that his relationship with LETSGO dates back at least to 2016, when they produced Dirty Dancing<\/em> in Spain for the first time:<\/p>

I came with Federico Bellone; we were the original creative team. Since then, we\u2019ve done many productions [with LETSGO], but without a doubt, the most successful one is The Phantom of the Opera<\/a><\/strong><\/em>.<\/p><\/blockquote>

Being part of the first Spanish-language production of one of the most successful musicals in history was a challenge in every sense. Tiberi remembers staging Phantom<\/em> at Teatro Alb\u00e9niz as \u201ca very difficult project.\u201d This is where the intricacies of lighting design come into play, when theory meets the hard ground of practice:<\/p>

The biggest challenge was finding the physical space to place the light. We can all come up with incredible ideas, but my job is to make them into reality.<\/p><\/blockquote>

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Lighting design by Valerio Tiberi for The Phantom of the Opera<\/em> (Madrid production). Photo: LETSGO.<\/p>

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It was one of those times when art has to come down to earth: adapting to budgets, technical layouts, timelines, and spatial limitations. Finding the perfect spot for the light, and projecting from there.<\/p>

We used very powerful light sources that could do several things at once: specials, washes, effects. We worked a lot with light tilting to create depth, and we also used smoke, fire... fire is light, too, of course.<\/p><\/blockquote>

An artist\u2019s greatness often lies in their versatility. Cabaret<\/em> <\/a><\/strong>is a whole different beast \u2014but naturally, Tiberi embraces the challenge:<\/p>

In Cabaret<\/em>, the approach is completely different. It\u2019s an immersive production and although we\u2019re still in the creative process, the challenge is once again the same: finding space for the lights. Only this time, the light is exposed. In Phantom<\/em>, it was hidden. The audience didn\u2019t see it. In Cabaret<\/em>, the lighting is part of the set. Everyone will see it.<\/p><\/blockquote>

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Thinking like the audience<\/strong><\/h4>

Lighting design is not just a technical craft. How do you think about a show when you\u2019re a creative but can\u2019t lose sight of the surgical precision that light demands? Luckily, artistic environments are fertile ground for questioning and transformation.<\/p>

Tiberi is clear: the key is thinking like the audience. In the end, it all comes back to emotion and to human reaction:<\/p>

There\u2019s no one rule. I adapt to each situation. For example, with Cabaret<\/em>, I started from the tools: I knew I needed dynamic, effect-driven lighting. In Phantom<\/em>, it was the opposite: storytelling was my starting point.
But in both cases, I try to keep an artistic mindset from the beginning. I like to think like the audience. The audience doesn\u2019t know if it was hard or easy to achieve an effect; they only know if it moved them. That\u2019s why I try to understand how the human mind reacts to light, to color, to stimuli. And that changes depending on the type of show, the city, the society. It\u2019s not just design: it\u2019s psychology.<\/p><\/blockquote>

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Custom Gobos used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

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Rediscovering darkness<\/strong><\/h4>

Tiberi is fascinated by a deeply contemporary concern: in a world blinded by light (computers, phones...) we\u2019ve become unavailable to darkness. We live in a state of overexposure, often without even realizing it.<\/p>

Theatre, like some exhibitions, is the only place where you can rediscover darkness. That\u2019s why I always start from the dark. And from there, I build layers. I begin with the black, then work on the amount of light: the white. And if needed, the colors come after. Contrast is essential. I\u2019m not just talking about aesthetics; I\u2019m talking about creating an intimate experience, something the audience doesn\u2019t find in their daily lives.<\/p><\/blockquote>

\u201cRediscovering darkness (\u2026) an intimate experience.\u201d <\/em>To train the mind to appreciate privacy and reflective environments \u2014so often linked to solitude and twilight\u2014 has become a monumental act. In this sense, framing theatre as a space that revives our most primal thoughts and relationships isn\u2019t nostalgia: it\u2019s a new form of approach, born from our modern context.<\/p>

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Can AI understand theatre?<\/strong><\/h4>

Another hallmark of our times: new technologies and the relationships we forge with them. Tiberi acknowledges that AI has helped him streamline tasks and compare ideas:<\/p>

It\u2019s like a secretary: I feed it images, concepts, and ask it to try out atmospheres. But of course, AI doesn\u2019t know where to physically place a light in the theatre, or which type to use, or when. It helps optimize, expand your thinking, but not solve the essentials.
I mostly use it for dramaturgy. I create mental maps of the show, there, it\u2019s useful. But you need time. If you\u2019re working, you\u2019re working. Still, I think many professions could benefit from AI if used wisely.<\/p><\/blockquote>

Despite growing discussions about whether human creativity can be replaced by algorithms, Tiberi reminds us that some things can\u2019t be substituted. Asked about a moment where lighting was crucial to solving a dramaturgical challenge, he shares:<\/p>

In Houdini<\/em><\/strong><\/a>, in Italy, one of the last scenes was very hard to resolve. We talked for weeks about how to stage it\u2026 and in the end, I did something very simple in the theatre and it worked. Sometimes we overthink things, and the solution is in the simplest move.<\/p><\/blockquote>

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Lighting design by Valerio Tiberi for Houdini<\/a> <\/em><\/strong>(Italy production).<\/p>

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Being a designer today: the power of active experience<\/strong><\/h4>

In a world where instinct and hands-on experience make all the difference, Tiberi knows exactly what he\u2019d tell a young lighting designer starting out:<\/p>

Nowadays, with all the tech out there, it\u2019s easy to reach an average level. But getting to the top is harder than ever. The key is real experience. You need to be in the theatre, live the space, rehearse, test. Be there at least 300 days a year. And travel. See shows, museums, exhibitions. Not just modern ones, classics too. Go to the Louvre, to MoMA\u2026 Start from what\u2019s tangible. Don\u2019t stay in one country, or one style.<\/p><\/blockquote>

On his experience teaching at the Accademia Teatro alla Scala, he adds:<\/p>

I don\u2019t want to be a traditional professor. I want to speak from experience, what\u2019s worked and what hasn\u2019t. I try to involve my students directly in the theatre. That\u2019s where real learning happens.<\/p><\/blockquote>

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Color List used for the lighting design (left) and Designer\u2019s magic sheet (right), both used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

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Fashion vs. Theatre: two worlds, two timeframes<\/strong><\/h4>

As mentioned earlier, Tiberi\u2019s work isn\u2019t limited to the stage or the classroom. He\u2019s also designed lighting for fashion shows, where atmosphere and storytelling \u2014when present\u2014 play a secondary role. But where does the real difference lie between stage and runway?<\/p>

It\u2019s all about timing. In fashion, preproduction is long, but setup takes just two or three days. And the show lasts, at most, twenty minutes. In that time, you run seven or eight cues: the intro, models entering, the runway, the finale, the exit.
It may not sound like much, but it\u2019s a massive job, with last-minute changes, contradictory decisions\u2026 sometimes the day before.
Above all, it\u2019s about the clothes. You need to light the garments with natural-looking light, without altering colors, minimizing shadows. The image must be clean, sharp. Sure, you work on the mood, but ultimately, it\u2019s about showcasing the clothes. It\u2019s about showing and selling.
And the goal is completely different from theatre. In a fashion show, what matters most is what ends up on Instagram. Lighting has to be tailored for smartphones, not for the human eye. And there\u2019s the live stream too, all the major brands do it now.<\/p><\/blockquote>

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The emotional impact of light<\/strong><\/h4>

A profession that walks the line between creativity and technicality but that, above all, demands a sensibility centered on the audience. In this sense, theatre stands as a master at evoking the deepest emotions.<\/p>

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Lighting design by Valerio Tiberi for Natura Encesa <\/em>(Barcelona production). Photo: LETSGO.<\/p>

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In musical theatre, the show comes together during previews, where you polish the details. The most emotional moment is the premiere, that\u2019s when you can finally sit back and enjoy. Opening night is when you let go and just watch.<\/p><\/blockquote>

The premiere is the first glimpse into the emotional impact a piece can have, not just on the audience, but on the team behind it. In September 2024, Valerio Tiberi returned to Madrid after nearly a year, not because of Phantom<\/em>, but for unrelated reasons. Still, he went back to the Alb\u00e9niz to see the show again:<\/p>

I was crying the whole time. After a year\u2026 it made me cry. When that happens, it\u2019s a good thing.<\/p><\/blockquote>

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By<\/span> The<\/span> LETSGO<\/span> Pen<\/span>,<\/span> Claudia P\u00e9rez Carbonell,<\/span> on <\/span>July 15th<\/span>, 2025<\/span><\/span>\u00a0<\/span><\/p>

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