Specifically, the traveling show visited the churches of San Juan, San Mateo, Santo Domingo, and Santiago, in a musical journey involving more than 240 artists and volunteers.

The event was conceived as a contemporary interpretation of the Ninth Symphony, inviting the public to reflect on the human condition and the meaning of Europe in an international context marked by uncertainty and conflicts at the continent’s borders. The performance structured the symphony in movements, distributing them across the various stages mentioned above and sharing them with Évora as a gesture of cross-border cultural collaboration. This dialogue between the two cities reinforces the European dimension of the project and symbolizes a commitment to cooperation based on culture as a bridge between peoples.

With this performance, Cáceres 2031 continues its mission to place culture at the heart of public life, using music, European cooperation, and collective work as driving forces to rethink the present and envision a shared future.

The dramaturgy was written by the Scottish director Simon Sharkey of The Necessary Space. Meanwhile, the four movements featured:

– First Movement (Church of San Juan)

Arrangement for fourteen wind instruments with musicians from the University of Évora, conducted by Jorge García Cuenllas.

– Second Movement (Church of San Mateo)

Dance performance directed and choreographed by Pablo Muñoz Vizcaíno, with the collaboration of Federico Corrales Martín, professors at the “Sagrario Ruiz-Piñero” Professional Dance Conservatory in Cáceres.

– Third Movement (Church of Santo Domingo)

Artistic direction by Laura García Cáceres, with artists from Cáceres in a performance that fuses music, acting, and singing.

– Fourth Movement (Church of Santiago)

Directed by Beatriz Fernández Aucejo, with the Romanticism Orchestra, the Extremadura Chamber Choir, and the Contrapunto Choir of the Pontifical University of Salamanca.