Christina Rosenvinge reimagines the Greek poet Sappho, bringing her to life at the Mérida International Classical Festival’s 68th edition. Rosenvinge describes Sappho as a “Rosalia of her time,” a songwriter whose verses traveled through generations as people learned her songs and kept them alive for centuries.
Rosenvinge, born in Madrid in 1964, argues that interpreting a Sappho tune is not a mere whim. The poet did not simply write on papyrus; her poetry spread through performance and song, resonating with large crowds at festive gatherings long before the written word became dominant.
The project emphasizes that Sappho, credited with innovating the lyre by using a plectrum to boost its sound, did not produce only silent, romantic verse. Her work reached many people through music, shaping collective memory at major celebrations. The piece Rosenvinge premieres has been described as a musical and visual poem with a perspective, and alongside her role as creator, she serves as the musical director while Marta Pazos takes on stage management. The production will be staged at the Principal Theatre in Alicante this September as part of the classical theatre festival. Sappho is presented as a scenic, musical, and visual meditation on the poet of Lesbos, highlighting female presence and its portrayal on stage.
For Rosenvinge, the first live encounter with the Roman Theatre in Mérida feels like a dream; she has undertaken an immersive exploration of Sappho’s poetry to inform the performance.
She emphasizes total artistic freedom. While the adaptation breathes with a respectful lyric, it pushes musical boundaries beyond conventional expectations. The accompanying cast makes the project sing, and the live music is a defining feature of the piece.
Music takes on a central role as the ideal vehicle for conveying Sappho’s thoughts—desire for freedom, pleasure, and emotional independence—while still addressing the historical context in which the poet lived.
Yet Sappho’s voice was limited by the era. She spoke of love between women and challenged norms, but not in a way that modern labels always capture. Rosenvinge notes that, unlike her contemporaries, Sappho’s work survived only in fragments and a handful of complete poems, gradually appearing again through the centuries.
Although Sappho is often viewed as a feminist figure today, the artist points out that such a term did not exist in her time. She highlights that the presence of ten women on the creative team already carries a feminist thread, even without tagging the project with a political label.
The festival’s scale and a strong visual projection come with a responsibility to celebrate women’s talent. This endeavor, however, goes beyond merely proving women’s representation on the program; it aims to normalize female artistry as a constant, living part of cultural life.
Rosenvinge is confident that the work will resonate with new generations. She believes young audiences are perceptive and highly engaged with immersive audio-visual experiences, and she welcomes the chance to reach them with a thoughtful, contemporary presentation.
Audience reactions will vary. Some may feel moved, while others might be surprised or challenged by the material. The project is designed as a self-contained concert, with the potential to be recorded in the future. Throughout her 30-year career, Rosenvinge has balanced touring in Latin America with other creative pursuits, all while refining this exploration of Sappho.
The poet remains a figure of mystery and influence, credited with producing thousands of lines, though only fragments survive. Rosenvinge sees Sappho as a voice that often goes unnoticed yet reveals female talent when allowed to breathe publicly.
sapphire brotherhood
Rosenvinge discusses the sense of camaraderie that emerges between the audience and the cast during performances of Sappho’s material. The team aims to leave the stage in better shape than when it began, both personally and artistically. She speaks of complete human freedom in the creative process, promising a unique Sappho who celebrates life in new ways.
Marta Pazos, the stage manager, notes that Sappho’s poetry is meant to be sung and that the team seeks to translate seemingly distant ideas into something immediate and vibrant for modern viewers.
Pazos envisions reawakening Sappho’s stories and poems for today by removing the ruins of the past and preserving their core essence. The production blends erotism and liberated love with a joyful celebration of life.
María Folguera, another contributor, highlights the fusion of history and tradition with contemporary pop music, suggesting the performance could feel like a goddess festival set in ancient stones.
For this reason, Pazos stresses that even as Sappho’s era fades, the work will stand as a moment of tribute and a living tribute to the great poet of Lesbos.