{"id":710,"date":"2025-11-03T21:16:22","date_gmt":"2025-11-04T03:16:22","guid":{"rendered":"https:\/\/elcontemporaneo.mx\/?p=710"},"modified":"2025-11-03T21:16:22","modified_gmt":"2025-11-04T03:16:22","slug":"llega-requiem-de-mozart-a-bellas-artes","status":"publish","type":"post","link":"https:\/\/elcontemporaneo.mx\/index.php\/2025\/11\/03\/llega-requiem-de-mozart-a-bellas-artes\/","title":{"rendered":"Llega “R\u00e9quiem de Mozart” a Bellas Artes"},"content":{"rendered":"

\"\"<\/p>\n

La Coordinaci\u00f3n Nacional de Danza (CND) presenta <\/span>R\u00e9quiem de Mozart<\/b>, obra con la que el core\u00f3grafo mexicano Rodrigo Gonz\u00e1lez, director de La Infinita Compa\u00f1\u00eda, celebra 20 a\u00f1os de trayectoria art\u00edstica.<\/span><\/p>\n

Las funciones se llevar\u00e1n a cabo el s\u00e1bado 15 de noviembre a las 20 horas, y el s\u00e1bado 6 de diciembre, a las 17 y 20 horas, en la Sala Principal del Palacio de Bellas Artes.<\/span><\/p>\n

Para Rodrigo Gonz\u00e1lez esta obra invita a hacer una pausa y reflexionar. \u201cUn r\u00e9quiem es, al final de cuentas, una misa de difuntos, y esta composici\u00f3n, que qued\u00f3 para la historia universal de la m\u00fasica y del arte, me permiti\u00f3 abordar un tema que nos acompa\u00f1a siempre: las p\u00e9rdidas\u201d.<\/span><\/p>\n

Inspirado en la versi\u00f3n del director austriaco Herbert von Karajan, el mexicano explic\u00f3 que la coreograf\u00eda aborda tanto p\u00e9rdidas individuales, donde la muerte se vuelve cercana, como p\u00e9rdidas colectivas, lo cual resulta oportuno dado que la humanidad enfrenta tragedias y p\u00e9rdidas por guerras, pandemias y enfermedades.<\/span><\/p>\n

Adem\u00e1s, la coreograf\u00eda ofrece momentos de luminosidad, reflexi\u00f3n y gratitud. Culmina con la trascendencia y el despojo, donde la danza se convierte en un medio luminoso y gratificante, al igual que la partitura.<\/span><\/p>\n

Gonz\u00e1lez explic\u00f3 que la puesta en escena busca generar un momento de reflexi\u00f3n: \u201cEsta obra tambi\u00e9n habla de agradecer el presente, a quienes han pasado o con quienes hemos coincidido, y de reconocer lo que nos han legado. En ese sentido, es una danza de agradecimiento, trascendencia y ofrenda\u201d.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

La Coordinaci\u00f3n Nacional de Danza (CND) presenta R\u00e9quiem de Mozart, obra con la que el core\u00f3grafo mexicano Rodrigo Gonz\u00e1lez, director de La Infinita Compa\u00f1\u00eda, celebra 20 a\u00f1os de trayectoria art\u00edstica. Las funciones se llevar\u00e1n a cabo el s\u00e1bado 15 de noviembre a las 20 horas, y el s\u00e1bado 6 de diciembre, a las 17 y […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[5],"tags":[],"columnista":[],"class_list":["post-710","post","type-post","status-publish","format-standard","hentry","category-arte"],"_links":{"self":[{"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/posts\/710","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/comments?post=710"}],"version-history":[{"count":1,"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/posts\/710\/revisions"}],"predecessor-version":[{"id":712,"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/posts\/710\/revisions\/712"}],"wp:attachment":[{"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/media?parent=710"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/categories?post=710"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/tags?post=710"},{"taxonomy":"columnista","embeddable":true,"href":"https:\/\/elcontemporaneo.mx\/index.php\/wp-json\/wp\/v2\/columnista?post=710"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}