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Cabaret en el Kit Kat Klub<\/strong><\/p>\n El Teatro Alb\u00e9niz se transforma por completo para recrear un Kit Kat Klub donde el p\u00fablico es parte activa de la historia. La puesta en escena rompe la distancia tradicional entre escenario y platea: mesas en el escenario, actores movi\u00e9ndose entre los espectadores y una atm\u00f3sfera que oscila entre el glamour decadente y la provocaci\u00f3n. Es una de las experiencias teatrales m\u00e1s inmersivas y sofisticadas de Madrid.<\/p>\n <\/p>\n ENTRADAS<\/a><\/p>\n <\/p>\n <\/p>\n Jurassic World: The Experience<\/strong><\/p>\n Una experiencia pensada para quienes crecieron con la saga o simplemente disfrutan de los grandes formatos. El recorrido reproduce distintos momentos del universo jur\u00e1sico, con criaturas a tama\u00f1o real y secuencias que juegan con la tensi\u00f3n, el humor y la sorpresa. Es ideal para familias, parejas o grupos que buscan una actividad distinta.<\/p>\n <\/p>\n ENTRADAS<\/a><\/p>\n <\/p>\n <\/p>\n Houdini: Un Musical M\u00e1gico<\/strong><\/p>\n Un musical que combina narrativa biogr\u00e1fica, n\u00fameros de magia en directo y una escenograf\u00eda que juega con la ilusi\u00f3n. La vida de Houdini \u2014sus proezas, sus riesgos y su obsesi\u00f3n por superar lo imposible\u2014 sirve de eje narrativo para un espect\u00e1culo que mezcla teatro y artes esc\u00e9nicas con un ritmo \u00e1gil.<\/p>\n <\/p>\n ENTRADAS<\/a><\/p>\n <\/p>\n <\/p>\n Avatar: The Experience<\/strong><\/p>\n El universo de Pandora toma forma en Madrid con una experiencia que combina luz, sonido y proyecci\u00f3n para generar la sensaci\u00f3n de estar dentro del mundo creado por James Cameron. No es una experiencia al uso, sino un recorrido sensorial en el que cada sala ofrece un ambiente distinto y una narrativa visual propia.<\/p>\n <\/p>\n ENTRADAS<\/a><\/p>\n <\/p>\n <\/p>\n Medias Puri y U\u00f1as Chung Lee \u2014 Para cerrar la noche<\/strong><\/p>\n Los dos clubs m\u00e1s singulares de Madrid combinan fiesta y espect\u00e1culo en un formato que alterna sesiones de baile, shows<\/em> sorpresa y una est\u00e9tica muy cuidada. Son perfectos para quienes quieren alargar la noche y cerrar el plan con energ\u00eda.<\/p>\n <\/p>\n ENTRADAS MEDIAS PURI<\/a><\/p>\n <\/p>\n ENTRADAS U\u00d1AS CHUNG LEE<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n Bilbao \u2014 El Mago de Oz<\/strong><\/p>\n Un musical familiar que combina la nostalgia del cl\u00e1sico con un planteamiento visual contempor\u00e1neo. Escenograf\u00edas m\u00f3viles, efectos que acompa\u00f1an el viaje y una interpretaci\u00f3n centrada en los v\u00ednculos entre los personajes. Ideal para una tarde de teatro que guste tanto a ni\u00f1os como a adultos.<\/p>\n <\/p>\n ENTRADAS<\/a><\/p>\n \u00a0<\/strong><\/p>\n <\/p>\n Naturaleza Encendida \u2014 Sevilla y Zaragoza<\/strong><\/p>\n Un recorrido nocturno de luz, sonido y paisaje que transforma algunos de los espacios verdes m\u00e1s emblem\u00e1ticos del pa\u00eds en instalaciones art\u00edsticas a gran escala. Naturaleza Encendida<\/strong> propone una experiencia m\u00e1s pr\u00f3xima al arte digital y al dise\u00f1o esc\u00e9nico que a la simple iluminaci\u00f3n decorativa, con narrativas visuales que se renuevan cada temporada.<\/p>\n En Sevilla, los Jardines del Real Alc\u00e1zar; y en Zaragoza, el Parque Grande Jos\u00e9 Antonio Labordeta se convierten en escenarios donde la vegetaci\u00f3n, la arquitectura y la tecnolog\u00eda trabajan como una sola pieza.<\/p>\n <\/p>\n ENTRADAS SEVILLA<\/a><\/p>\n <\/p>\n ENTRADAS ZARAGOZA<\/a><\/p>\n <\/p>\n <\/p>\n Barcelona \u2014 El Fantasma de la \u00d3pera<\/strong><\/p>\n Una de las grandes producciones del a\u00f1o en Barcelona. El musical conserva la esencia del original, pero incorpora una puesta en escena renovada que potencia los grandes momentos de la obra. La orquesta, las voces y la escenograf\u00eda convierten la funci\u00f3n en una apuesta s\u00f3lida para una noche de teatro memorable.<\/p>\n <\/p>\n ENTRADAS<\/a><\/p>\n <\/p>\n <\/p>\n Ciudad de M\u00e9xico \u2014 Stranger Things, El Fantasma de la \u00d3pera y El Laberinto de Tim Burton<\/strong><\/p>\n La capital mexicana re\u00fane tres propuestas de gran formato muy distintas entre s\u00ed: nostalgia ochentera en Stranger Things: The Experience<\/em>, una versi\u00f3n majestuosa de El Fantasma de la \u00d3pera<\/em> y un recorrido inmersivo por la iconograf\u00eda m\u00e1s reconocible de Tim Burton. Es uno de los destinos con mayor concentraci\u00f3n de espect\u00e1culos del momento.<\/p>\n <\/p>\n ENTRADAS STRANGER THINGS<\/a><\/p>\n <\/p>\n ENTRADAS TIM BURTON<\/a><\/p>\n <\/p>\n ENTRADAS EL FANTASMA<\/a><\/p>\n <\/p>\n <\/p>\n Este fin de semana, la rutina puede esperar. Desde la magia de un musical hasta la aventura de un mundo jur\u00e1sico, pasando por los paisajes de Pandora o los misterios de Hawkins, hay un plan para cada tipo de espectador. Y, por supuesto, la noche a\u00fan guarda espacio para quienes buscan prolongar la experiencia m\u00e1s all\u00e1 del espect\u00e1culo.<\/p>\n <\/p>\n Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 12 de diciembre de 2025<\/p>\n <\/p>\n <\/p>\n \u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Una agenda para ir cerrando el a\u00f1o a lo grande: musicales, experiencias inmersivas y escapadas culturales que merecen tu tiempo. Ha llegado diciembre y entramos ya en el segundo fin de semana del \u00faltimo mes del a\u00f1o. Es el momento perfecto para dejar la rutina atr\u00e1s y disfrutar de experiencias que no se olvidan. […]<\/p>\n","protected":false},"author":12,"featured_media":7138,"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> \u00a0<\/p> Theatre (\u2026) is the only place where you can rediscover darkness.<\/p><\/blockquote> \u00a0<\/p> 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> \u00a0<\/p> 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> Lighting design by Valerio Tiberi for The Phantom of the Opera<\/em> (Madrid production). Photo: LETSGO.<\/p> \u00a0<\/p> 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> \u00a0<\/p> 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. Custom Gobos used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p> \u00a0<\/p> 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> \u00a0<\/p> 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. 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>\n
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Otras ciudades: planes que justifican una escapada<\/strong><\/h4>\n
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We sat down with Valerio Tiberi to talk about creativity and technique in stage lighting.<\/h3>
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<\/p>The challenge of lighting a classic<\/strong><\/h4>
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<\/p>Thinking like the audience<\/strong><\/h4>
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>![\"\"](\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_4.jpg\")
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Rediscovering darkness<\/strong><\/h4>
Can AI understand theatre?<\/strong><\/h4>
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>
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