Fernando Velázquezs Breakthrough Success in Opera with Els Estunmen This Lyrical Season

Imagine sitting in the historic Chicago Theatre, the iconic marquee glowing above State Street, as the orchestra swells with a score that feels like it was ripped straight from a blockbuster film—only this time, it’s not Hollywood. It’s opera. And it’s not just any opera. It’s Els Estunmen, the groundbreaking work by Spanish composer Fernando Velázquez, a name synonymous with cinematic grandeur, now making waves in the world of live performance. For Chicago’s arts community—a city that thrives on bold, boundary-pushing creativity—this isn’t just another reveal. It’s a sign of where the future of opera is headed: a fusion of high art and mass appeal, where the lines between film, theater, and classical music blur into something entirely new.

Velázquez’s debut in the operatic world isn’t just a personal milestone. it’s a cultural moment. Els Estunmen, which translates loosely to “The Stuntmen,” is a coproduction between four of Spain’s most prestigious institutions: the Teatre Lliure, the Gran Teatre del Liceu, the Teatro Real, and the Teatros del Canal. The collaboration alone is a testament to the scale of ambition behind this project. But what’s truly revolutionary is how Velázquez and the production team—led by directors Nao Albet and Marcel Borràs—are redefining what opera can be. This isn’t your grandmother’s La Traviata. It’s a high-octane, visually stunning exploration of masculinity, heroism, and violence, told through the lens of stunt performers, those unsung heroes of the film industry who risk their lives to develop the impossible look effortless.

For a city like Chicago, where the arts scene is as diverse as it is deeply rooted in tradition, Els Estunmen offers a compelling case study in how opera can evolve to stay relevant in the 21st century. The Lyric Opera of Chicago, one of the nation’s premier opera companies, has long been a champion of both classic and contemporary works. But even here, the pressure to innovate is constant. Audiences are younger, attention spans are shorter, and the competition for entertainment dollars is fiercer than ever. Velázquez’s work—with its cinematic score, its blend of live action and operatic performance, and its unflinching look at modern masculinity—could be a blueprint for how institutions like the Lyric can attract new audiences without alienating their core patrons.

The Stuntmen as Modern Mythmakers

At the heart of Els Estunmen is a deceptively simple question: What does it mean to be a hero in today’s world? The production doesn’t just ask this question—it dismantles it, using the world of stunt performers as a metaphor for the performative nature of heroism itself. These are the men and women who, for a paycheck, throw themselves off buildings, crash cars, and take punches so that actors don’t have to. They’re the ultimate professionals, yet their work is invisible to most audiences. In Els Estunmen, they’re given center stage, both literally, and figuratively.

The choice of stunt performers as the focal point isn’t accidental. As the production notes from the Gran Teatre del Liceu explain, stuntmen embody the contradictions of modern masculinity: they’re strong, fearless, and willing to take risks, but they’re also anonymous, replaceable, and often undervalued. They’re the physical manifestation of the “hero” archetype that Hollywood has sold us for decades, yet their real lives are far removed from the glamour of the silver screen. By centering their stories, Els Estunmen forces the audience to confront the gap between myth and reality—a theme that resonates far beyond the opera house.

In Chicago, where the film industry has been quietly booming thanks to incentives like the Illinois Film Production Tax Credit, stunt performers are a familiar sight. From the gritty streets of the South Side to the sleek skyscrapers of the Loop, these professionals work behind the scenes on everything from indie films to major studio productions. But their stories rarely get told. Els Estunmen changes that, offering a narrative that feels both universal and deeply personal. For local stunt performers—many of whom train at places like Act One Studios or Stunt Coordination Chicago—this opera could be a validation of their craft, a rare moment in the spotlight.

Velázquez’s Score: A Bridge Between Film and Opera

If the concept of Els Estunmen is bold, Velázquez’s score is nothing short of revolutionary. As a composer best known for his work in film—his credits include scores for The Impossible, Crimson Peak, and A Monster Calls—Velázquez brings a cinematic sensibility to the operatic form. His music doesn’t just accompany the action; it is the action. The score is a seamless blend of orchestral grandeur and pulse-pounding rhythm, designed to keep audiences on the edge of their seats. It’s the kind of music that feels at home in a movie theater but takes on new life in a live setting, where the energy of the performers and the immediacy of the orchestra create something electric.

For Chicago’s music community, Velázquez’s approach is particularly intriguing. The city has a rich history of blending genres—from the blues-jazz fusion of the South Side to the experimental classical scene centered around institutions like the Chicago College of Performing Arts at Roosevelt University. Velázquez’s work fits neatly into this tradition, offering a model for how composers can break down the barriers between different forms of music. His score for Els Estunmen doesn’t just borrow from film; it reimagines what opera can sound like in an era where audiences are accustomed to the immersive experiences of cinema.

One of the most striking aspects of Velázquez’s score is how it uses silence. In a genre where music is often constant, Velázquez isn’t afraid to let moments breathe, creating tension and drama through absence as much as presence. This is a technique he’s honed in his film work, where music is often used sparingly to heighten emotion. In Els Estunmen, it’s a masterclass in restraint, proving that sometimes, what you don’t hear is just as powerful as what you do.

The Production’s Technical Marvel

But Els Estunmen isn’t just a musical achievement—it’s a technical one. The production brings together eight stunt performers, five singers, eight actors, and the full orchestral forces of the Liceu, all under the direction of Velázquez himself. The result is a spectacle of movement, sound, and stagecraft that pushes the boundaries of what’s possible in live performance. The Teatre Lliure, where the opera premiered in Barcelona, is known for its innovative staging, and Els Estunmen takes full advantage of its capabilities. From choreographed fight scenes to elaborate set pieces, the production is a testament to the power of collaboration between artists from different disciplines.

For Chicago’s theater community, this level of technical ambition is both inspiring and daunting. The city is home to some of the most innovative theater companies in the country, from Steppenwolf Theatre to Goodman Theatre, both of which have pushed the envelope in terms of staging and storytelling. But Els Estunmen raises the bar even higher, offering a glimpse of what’s possible when opera, theater, and film collide. It’s a reminder that the future of live performance isn’t just about telling stories—it’s about creating experiences that can’t be replicated on a screen.

The production’s technical challenges are also a reflection of the broader trends shaping the arts world. As audiences grow accustomed to the high production values of film and television, live performances have to work harder to compete. Els Estunmen meets this challenge head-on, using technology and creativity to create a show that feels both timeless and utterly modern. For Chicago’s theater companies, this could be a wake-up call—a reminder that innovation isn’t just a buzzword, but a necessity for survival in an increasingly crowded entertainment landscape.

Why Chicago Should Pay Attention

So why does Els Estunmen matter to Chicago? The answer lies in the city’s unique position as a cultural hub. Chicago has always been a city of contrasts: a place where high art and street culture coexist, where tradition and innovation collide. It’s a city that has given birth to everything from the blues to improv comedy to the modern skyscraper. And it’s a city that, despite its rich artistic heritage, is always looking for the next big thing.

Els Estunmen represents that next big thing—a fusion of genres that feels fresh, urgent, and deeply relevant to the conversations happening in Chicago today. The opera’s exploration of masculinity, for example, couldn’t be timelier in a city grappling with issues of gender, identity, and representation. From the #MeToo movement to the ongoing debates about toxic masculinity, Chicago’s cultural institutions have been at the forefront of these discussions. Els Estunmen offers a new lens through which to examine these issues, one that’s both provocative and deeply human.

the opera’s success in Barcelona and its upcoming run in Madrid suggest that it has the potential to be a global phenomenon. For Chicago’s arts organizations, this is an opportunity to think about how they can bring similarly ambitious projects to the city. The Lyric Opera, for example, has already shown a willingness to take risks with contemporary works like Bel Canto and The Property. Els Estunmen could be the next logical step—a chance to prove that Chicago isn’t just a city that consumes culture, but one that creates it.

There’s also the economic angle. The arts are a major driver of Chicago’s economy, generating billions of dollars in revenue each year and supporting thousands of jobs. But in an era of declining public funding and shifting audience habits, institutions have to find new ways to stay relevant. Els Estunmen offers a model for how opera can attract new audiences—particularly younger ones—by embracing the language of film and popular culture. For a city like Chicago, where tourism is a key economic engine, this kind of innovation could have ripple effects far beyond the opera house.

If This Trend Impacts You in Chicago, Here’s Who You Need to Know

Given my background in cultural journalism and my focus on how global trends play out in local communities, I’ve seen firsthand how innovations like Els Estunmen can reshape entire industries. If you’re in Chicago and this opera—or the broader movement it represents—has piqued your interest, here are the three types of local professionals you should be connecting with:

Multidisciplinary Arts Consultants

These are the visionaries who facilitate institutions think outside the box. In Chicago, you’ll find them working with organizations like the University of Chicago’s Arts + Public Life initiative or the Chicago Artists Coalition. Look for consultants with experience in cross-genre collaborations—people who understand both the artistic and logistical challenges of merging opera, film, and theater. When hiring, ask for case studies of past projects that pushed boundaries. You want someone who can help you navigate the complexities of a production like Els Estunmen, from securing stunt performers to integrating live orchestral music with filmic storytelling.

Stunt Coordination and Performance Specialists

Chicago has a thriving stunt community, thanks in part to the city’s growing film industry. But not all stunt coordinators are created equal. For a project like Els Estunmen, you’ll need professionals who can do more than just choreograph fight scenes—they’ll need to understand the nuances of live performance, where timing, safety, and artistic expression all have to align perfectly. Look for coordinators with experience in theater or opera, or at least a track record of working on high-stakes live events. Organizations like the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) can be a great starting point for finding qualified candidates. When vetting, ask about their experience with large-scale productions and their ability to work with non-stunt performers, like singers and actors.

Cultural Programmers and Curators

These are the people who decide what gets programmed at Chicago’s major arts institutions. If you’re an artist or producer looking to bring a project like Els Estunmen to the city, you’ll need to connect with curators who have a track record of championing innovative work. In Chicago, this might mean reaching out to the programming teams at the Lyric Opera, the Chicago Humanities Festival, or even the Chicago International Film Festival. Look for curators who have experience with interdisciplinary projects and a demonstrated interest in contemporary social issues. When pitching your idea, emphasize how it aligns with the institution’s mission and how it can attract new audiences. Bonus points if you can show a clear connection to Chicago’s cultural landscape—whether that’s through local talent, community engagement, or a unique venue.

Each of these professionals plays a critical role in bringing a project like Els Estunmen to life. But remember: the key to success isn’t just hiring the right people—it’s creating an environment where they can collaborate effectively. That means fostering a culture of experimentation, where risks are encouraged and failure is seen as a learning opportunity. In a city like Chicago, where the arts scene is as competitive as it is collaborative, this kind of approach can make all the difference.

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