The musical reading of La Reina Roja is premiered at the PAAX GNP Festival

A new musical reading of La Reina Roja premiered during the fifth edition of the PAAX GNP Festival in Playa del Carmen. The performance, which marks the world debut of the work, was part of a broader artistic initiative led by the festival’s artistic director, Alondra de la Parra, who commissioned the piece from composer Gabriela Ortiz. The event took place under the framework of a dialogue session moderated by music critics Gerardo Kleinburg and Lázaro Azar, with participation from journalist Adriana Malvido. The composition draws directly from La Reina Roja, a book written by Adriana Malvido based on her journalistic coverage of the discovery made by archaeologist Fanny López Jiménez of the sarcophagus of the Red Queen of Palenque, wife of Pakal “El Grande,” over 32 years ago. The work explores themes tied to this historical find, blending narrative with sound in a unique attempt to translate the sensory experience of the site into musical form. The premiere was met with mixed responses, reflecting ongoing debates within the arts community about the balance between innovation and emotional resonance in contemporary compositions. Gabriela Ortiz, during the discussion, acknowledged the challenges of creating original works while drawing upon established influences. She emphasized that all composers have their roots, and that these connections are essential to the creative process. Ortiz listed several key figures who influenced her, including Igor Stravinsky, Silvestre Revueltas, Béla Bartók, Maurice Ravel, and the text itself, which she described as a vital element of her work. She expressed admiration for the ability of the audience to engage deeply with the material, particularly through its connection to the natural environment of Palenque. Adriana Malvido, whose book inspired the work, shared her perspective on how Ortiz has captured the essence of the Red Queen's story. She noted that the sounds of Palenque, such as the glow of fireflies, the rain, and the calls of monkeys, are integral to the atmosphere of the region. Malvido likened Ortiz’s approach to the philosophy of Polish journalist Ryszard Kapuścinski, who advocated for a journalism that engages all five senses. She believed that Ortiz had fully embraced this concept, translating the ritualistic aspects of the queen’s burial into a multi-sensory experience that resonates beyond mere storytelling. Lázaro Azar, one of the moderators, pointed out similarities between La Reina Roja and the works of Heitor Villa-Lobos and A Floresta do Amazona. He highlighted how Ortiz managed to create a sonic image that mirrors the visual imagery of the dawn, capturing the ethereal quality of the moment. This interpretation sparked further discussion among the participants, who debated the difficulty of defining national identity through artistic expression, especially in a country as diverse and complex as Mexico. Kleinburg raised questions about what might be missing from the piece, prompting a deeper exploration of the challenges in defining the identity of a nation through art. Ortiz responded by emphasizing the importance of personal and cultural lineage in composition, stating that every artist comes from a rich tradition. She stressed that while innovation is valuable, it should not come at the expense of emotional depth and expressive power. Following its world premiere, La Reina Roja will embark on a tour, performing in different locations to reach wider audiences. The work continues to spark conversation about the role of music in interpreting history and nature, and how artists can bridge the gap between past and present through sound.