Lydia Lozano once pictured a Eurovision moment that would fuse her screen presence with a bold musical entry, imagining her in a lead role for a Spanish entry titled Zorra after Nebulossa earned the honor of representing Spain. Lozano, a seasoned journalist and current collaborator on the Mañaneros program, has long spoken about the electric possibility of stepping onto Europe’s biggest stages, a scenario that would electrify audiences from Alicante to the far reaches of the continent. Her public remarks over recent days reveal a readiness to lean into a high-profile collaboration that could heighten the profile of Spain at the Eurovision Song Contest.
In conversations that circulated through media circles, Lozano communicated a desire to influence the performance beyond the mic — should a trusted voice coach and industry professional help refine her vocal delivery, she would embrace the chance to contribute to a national presentation that blends performance with authenticity. She suggested that if an established reformative plan could accommodate her input on choreography and stage dynamics, she would be ready to participate. The remarks surfaced in a discussion with Laura Ortiz, presented to a Semana magazine audience, highlighting Lozano’s openness to a strategic, well-supported Eurovision run.
During a recent press event focused on the evolving approach to dance and performance, TVE addressed whether Lozano might join Nebulossa for the Malmö edition of the 2024 Eurovision Song Contest. The exchange underscored the network’s careful consideration of each artist’s role, timing, and how collaborative creativity could shape Spain’s entry for the European festival. Viewers and industry observers watched closely as the public dialogue framed the negotiations and potential creative alignments that could affect the final staging and the message Spain projects on an international stage.
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Public statements indicated that Lozano would not necessarily participate with Nebulossa as part of a Eurovision performance. In the moment-of-truth questions, Ana María Bordas, the director of RTVE Originals, clarified that changes could be part of the plan, signaling adjustments to the live presentation while leaving room for future collaborations. Bordas spoke to a group that included YOTELE, emphasizing that the ultimate setup for the Eurovision act would balance artistic ambition with the practicalities of production and broadcast planning. The takeaway suggested a flexible approach to the on-stage arrangement, potentially reshaping how the team would present the song and the artist to international audiences.