{"id":6207,"date":"2025-10-16T19:39:57","date_gmt":"2025-10-16T17:39:57","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=6207"},"modified":"2025-10-17T12:54:39","modified_gmt":"2025-10-17T10:54:39","slug":"houdini-un-musical-magico-se-estrena-por-todo-lo-alto-en-el-teatro-calderon","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/houdini-un-musical-magico-se-estrena-por-todo-lo-alto-en-el-teatro-calderon\/","title":{"rendered":"Houdini: Un musical m\u00e1gico se estrena por todo lo alto en el Teatro Calder\u00f3n"},"content":{"rendered":"

La producci\u00f3n de LETSGO y beon.Entertainment vivi\u00f3 su gran premier en el Teatro Calder\u00f3n, donde el p\u00fablico disfrut\u00f3 del ilusionismo esc\u00e9nico y trat\u00f3 de desentra\u00f1ar los trucos de Houdini.<\/h3>\n

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Madrid, 15 de octubre.
\nEl Teatro Calder\u00f3n vivi\u00f3 anoche el estreno oficial de Houdini: Un musical m\u00e1gico<\/em><\/a><\/strong>, una de las producciones m\u00e1s esperadas de la temporada. La cita reuni\u00f3 al equipo creativo, al elenco completo y a numerosas figuras del mundo del espect\u00e1culo, que no quisieron perderse el debut del nuevo proyecto de LETSGO<\/a> <\/strong>y beon.Entertainment.<\/p>\n

A pesar de la creciente oferta de musicales en Madrid, este estreno ha sido diferente, sobre todo, por su enfoque innovador. La producci\u00f3n fusiona la narrativa y la emoci\u00f3n del teatro musical con la espectacularidad de la magia en vivo, incorporando n\u00fameros de ilusionismo que se suceden a un ritmo tan vertiginoso como 2 minutos y 36 segundos \u2014dejando al p\u00fablico casi sin margen de reacci\u00f3n\u2014. Se trata de una verdadera experimentaci\u00f3n esc\u00e9nica, una propuesta que nunca antes se hab\u00eda visto en un musical en Espa\u00f1a. A lo largo de la noche, esto fue sin dudas lo que marc\u00f3 las intervenciones de sorpresa de los invitados.<\/p>\n

Desde las \u00faltimas horas de la tarde, el photocall del Calder\u00f3n marc\u00f3 el inicio de la velada. Por \u00e9l desfilaron los protagonistas de la producci\u00f3n mezclados con rostros conocidos como Javi Hoyos, Teresa Gareche, Pablo Meixe, Adri\u00e1n Lastra, Ger\u00f3nimo Rauch o Tal\u00eda del Val, entre otros invitados del \u00e1mbito teatral y de medios.<\/p>\n

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Javi Hoyos.<\/p>\n

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Pablo Meixe.<\/p>\n

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Ger\u00f3nimo Rauch.<\/p>\n

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Los asistentes recorrieron el preshow del espect\u00e1culo \u2014una antesala inmersiva que sumerge al p\u00fablico en el universo del legendario escapista\u2014 y compartieron una copa antes de la funci\u00f3n, que comenz\u00f3 sobre las 20:30h.<\/p>\n

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De izq. a dcha.: Juan Dos Santos, Julia M\u00f6ller, Pablo Puyol y Christian Escuredo.<\/p>\n

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Durante el intermedio, el ambiente era de expectaci\u00f3n y asombro. La cantante Marta Sango<\/strong> se\u00f1alaba:<\/p>\n

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Me est\u00e1 pareciendo incre\u00edble, chul\u00edsimo. Adem\u00e1s, siempre he pensado que la magia y la m\u00fasica van de la mano, y qu\u00e9 mejor que un musical de magia. Lo recomiendo mucho a todo aquel que tenga su ni\u00f1o interior y quiera vivir en el mundo de la fantas\u00eda, sin cuestionarse las cosas de adultos.<\/p>\n<\/blockquote>\n

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En la misma l\u00ednea, Javi Hoyos<\/strong> destacaba la magnitud del montaje:<\/p>\n

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Me est\u00e1 pareciendo brutal la magia que hay en este musical. Esper\u00e1bamos magia, pero no imaginaba que pudiera entrar tanto en este escenario ni que nos llevara a sitios tan surrealistas. Pablo Puyol ha estado impresionante: c\u00f3mo canta, c\u00f3mo se mueve, qu\u00e9 energ\u00eda tiene. Este musical va a hacer so\u00f1ar a todo el que entre en el teatro.<\/p>\n<\/blockquote>\n

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Tras el \u00faltimo n\u00famero, las ovaciones se prolongaron durante varios minutos. Con el p\u00fablico en pie, el director y autor del espect\u00e1culo, Federico Bellone<\/strong>, subi\u00f3 al escenario para agradecer la implicaci\u00f3n del equipo y la respuesta del p\u00fablico. Lo acompa\u00f1aron los equipos t\u00e9cnico y creativo, que recibieron una nueva ronda de aplausos, y finalmente los productores I\u00f1aki Fern\u00e1ndez<\/strong> (LETSGO) y Dario Regattieri\u00a0<\/strong>(beon.Entertainment), quienes tomaron la palabra para agradecer el trabajo conjunto de ambas compa\u00f1\u00edas y la confianza del p\u00fablico madrile\u00f1o.<\/p>\n

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Julia M\u00f6ller y Pablo Puyol durante los aplausos finales.<\/p>\n

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Federico Bellone durante las palabras finales.<\/p>\n

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De izq. a dcha.: Dario Regattieri\u00a0<\/strong>e I\u00f1aki Fern\u00e1ndez durante las palabras finales.<\/p>\n

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Entre los invitados, las impresiones tras el gran final confirmaban el entusiasmo general. Pupi Poisson<\/strong> resum\u00eda la experiencia con humor:<\/p>\n

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El musical me ha parecido una maravilla porque tiene interpretaci\u00f3n, canto, baile y encima hay magia, no de un truquito, sino de m\u00e1s de veinte cada dos minutos. Es muy recomendable incluso para la gente que dice que no le gustan los musicales: aqu\u00ed tienes de todo. Yo voy a venir a verlo ma\u00f1ana tambi\u00e9n.<\/p>\n<\/blockquote>\n

Sobre el protagonista, a\u00f1ad\u00eda:<\/p>\n

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Pablo Puyol est\u00e1 en plena forma. Podr\u00eda hacerse el musical solo si quisiese. Canta boca abajo; yo subo una cuesta y ya no puedo ni respirar ni hacer la fotos\u00edntesis, y \u00e9l sigue cantando e interpretando. Me ha parecido flipante. Viva Pablo Puyol.<\/p>\n<\/blockquote>\n

Tambi\u00e9n Mary Capel<\/strong> coincid\u00eda en resaltar el trabajo del actor:<\/p>\n

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Ha sido espectacular. Pablo Puyol es una estrella, incombustible. Lo que hace en escena creo que no hay nadie capaz de hacerlo en el teatro musical espa\u00f1ol. De verdad que es m\u00e1gico.<\/p>\n<\/blockquote>\n

El int\u00e9rprete Tiago Barbosa<\/strong> compart\u00eda la misma sensaci\u00f3n:<\/p>\n

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Es pura magia. Me lo he pasado bomba, he disfrutado como un ni\u00f1o porque cada segunda era algo nuevo. Con el final me he quedado s\u00faper nervioso, todo el rato mirando los pies y pregunt\u00e1ndome si estaba todo bien.<\/p>\n<\/blockquote>\n

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La celebraci\u00f3n continu\u00f3 m\u00e1s all\u00e1 del escenario. Los invitados se reunieron en las dos \u00faltimas plantas del Calder\u00f3n, incluida su renovada terraza, donde la noche sigui\u00f3 entre conversaciones, copas y un catering de primera categor\u00eda que cerr\u00f3 el estreno con un ambiente distendido y festivo.<\/p>\n

Superadas las previas y con este estreno VIP, Houdini: Un musical m\u00e1gico<\/em><\/a><\/strong> inicia oficialmente su temporada en Madrid. Un espect\u00e1culo que combina la espectacularidad del ilusionismo con la fuerza del teatro musical y que, una vez vista la reacci\u00f3n del p\u00fablico, se perfila como uno de los grandes t\u00edtulos del a\u00f1o.<\/p>\n

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https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/10\/ESTRENO-HOUDINI_1440X460.mp4<\/a><\/video><\/div>\n

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Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 16 de octubre de 2025<\/p>\n

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

La producci\u00f3n de LETSGO y beon.Entertainment vivi\u00f3 su gran premier en el Teatro Calder\u00f3n, donde el p\u00fablico disfrut\u00f3 del ilusionismo esc\u00e9nico y trat\u00f3 de desentra\u00f1ar los trucos de Houdini.   Madrid, 15 de octubre. El Teatro Calder\u00f3n vivi\u00f3 anoche el estreno oficial de Houdini: Un musical m\u00e1gico, una de las producciones m\u00e1s esperadas de la […]<\/p>\n","protected":false},"author":12,"featured_media":6252,"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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