World-class dance lands in Tenerife
The Auditorio de Tenerife has put itself firmly back on the international dance map with the arrival of the GöteborgsOperans Danskompani (the Gothenburg Opera Dance Company), whose appearance at the Mapas 2026 festival also marks its only stop in Spain. This milestone not only cements the outward-facing profile of this Tenerife cultural venue, but also reinforces its commitment to staging major theatrical productions, which are becoming increasingly rare on the national circuit.
Two shows, one unforgettable experience
The GöteborgsOperans Danskompani will present two programmes. Hammer, the company’s greatest hit, choreographed by Alexander Ekman, can be seen in the Sala Sinfónica on Saturday 11 July at 7.30pm and again a day later at 6.00pm. A double bill arrives on Tuesday 14 July at 7.30pm, featuring ima by Sharol Eyal and Wild Poetry by Hofesch Shechter. José Luis Rivero, the artistic director of the Auditorio de Tenerife, describes this as an “unbeatable occasion.”
This is not the first time Tenerife has become the exclusive epicentre of international offerings. The same happened last weekend with Hamlet, by Robert Lepage and Guillaume Côt, also part of Mapas 2026. These achievements reflect a programming strategy aimed at restoring the power of large-scale theatrical events.
More than just positioning
Far from a strategy based solely on positioning, Rivero insists the motivation is different. “Fundamentally, what we want is to bring high-quality international dance so it can be enjoyed by the public.” That audience is not limited to local spectators; Mapas 2026 has also attracted visitors from other islands and even students from the Royal School of Dramatic Art in Madrid, who have travelled specifically to attend these performances.
The central offering of the GöteborgsOperans Danskompani’s visit is Hammer, a choreography by acclaimed Swedish creator Alexander Ekman. Featuring 31 dancers on stage, it is a major work that has enjoyed success worldwide and offers a critical reflection on contemporary egocentrism. “It makes an important critique of the state we live in, of superficiality, of being obsessed with social media, with likes and thumbs-ups,” says Rivero.
A worrying trend in dance
For the artistic director of the Auditorio, hosting productions of this scale also addresses a worrying trend. “Large-format dance works are disappearing. Fewer and fewer are presented in Spain, so it was important to revive that concept.” In this regard, he highlights the role of the institutions that support companies such as the one from Gothenburg, which are essential for sustaining large-scale offerings.
The Swedish company’s programme is completed on Tuesday 14 July with a double bill including ima and Wild Poetry. These are two pieces that, from different languages, share a commitment to visual and sensory power. “You don’t need to know anything about dance. You just let yourself be carried away by the beauty of movement,” says Rivero, who insists these offerings are designed for non-specialist audiences too.
An invitation to pause and be captivated
In a context marked by immediacy, the GöteborgsOperans Danskompani’s proposals invite audiences to stop and be captivated for two hours by a unique theatrical universe. Rivero does not hide his satisfaction at having secured Hammer for Tenerife, after insisting on its inclusion over other works by the company. “It has been a ‘fight’ to get this piece here, and I am very happy they accepted. But now we also have to prove it was worth coming.”
