- Hello and welcome to Detroit Performs Live.

I'm excited to be sitting here with Paulo, the conductor of Ainadamar, welcome.

- Thank you.

- And what is the story of the opera?

- So the story of the opera, it's based on the muse of Federico García Lorca, this actress that Margarita who, she's old and she's talking with one of her students, Nuria.

So Nuria wants to know what, you know, what are your memories about like being working with this incredibly important poet and play writer which was Federico García Lorca, which is one of the most important names in the literature of the 20th century Spanish writing.

But at some point, this all artistic collaboration went through this really rough time of the politics in Spain at that age.

And when they, the police caught him because he was with political antagonism with what was going on around, and at the end they killed him.

So it's a really tragic story, but it's narrated through the eyes of this person, of Margarita.

So it's about love, it's about life, and yes, it's about death, but at the same time with this kind of like, angle of redemption, because through poetry, through the literature, through music, through dance, it's kind of like they will be together forever.

- [Satori] And what kind of inspiration do you have when you're conducting an opera such as this?

- Well, this is a really unique and I would say in a good way, rare opera because it's first of all, this is much a modern opera.

It's not from the traditional core of the repertoire, like, you know, like Traviata, La Boheme because Osvaldo Golijov, this Argentinian composer wrote this opera only 20 years ago.

And for the standards of an opera production, 20 years, it's pretty new.

And at the same time it's because he's bringing a lot of devices to the music, to the stage that are not so common to an opera, which makes it even more interesting.

The whole music around the drama it's about this flavor, this Flamenco flavor.

So the guitars are like a main role but also the percussion and every kind of like, musical gesture at some point it's linked to this folklore sound which makes this opera kind of like a blend into two worlds from the very classical tradition writing and the the sound of a symphonic piece and an opera, of course, the vocal lines, the choir, the soloist.

But at the same time, it's always blend with this much more popular color.

So that, I think it's one of the most effective devices that this opera has and I think one of the most compelling to the audience and the musicians.

- And how has your experience been working with the Detroit Opera?

- Oh, it's been a joyful experience, so far it's just about sharing with this amazing group of artists.

There is so much joy in the process.

Everybody is enjoying it.

So I'm sure you will tell when you are at the performance.

- And the translation is Fountain of Tears - Ainadamar, yes, it's an Arabic word for Fountains of Tears, which is a place in Granada where Garcia Lorca was executed.

- [Satori] Why should audiences come and see this opera?

- I think what makes it really attractive is that it gets you immediately because of the rhythms because of the Flamenco again, I mean, it's such a powerful, you know, music.

So I think they have to come because they will experience something they won't forget.

And I'm pretty sure they will get really fascinating for the story, the music, the singing, everything.

- Any last words?

Anything you wanna leave us with?

- Yes, don't miss Ainadamar, it's an experience you won't forget.

- All right, thank you.

We won't miss it.

- Thank you.

(tapping) (upbeat music) (singing in foreign language) (clapping) (upbeat music) (singing in foreign language)