Show allegro molto vivace e, mixing chamber concert, satirical portrait period comedy

In true Yllana style, the adventures and misadventures of a string quartet in an indeterminate period between the 17th and 18th centuries (Baroque and Neoclassicism) are shown.  

A filler musician, a second man without surnames but with an enormous talent, will try to progress in the ranks and achieve the title of master. Will his talent and genius be enough to gain a foothold in such a hierarchical world? Will he get the prestige he rightfully deserves? 

Along the same lines as Pagagnini , but with its own entity,  Maestrissimo will  delight viewers with a very careful aesthetic and hilarious characters, addressing topics such as ethics, creation, originality and the value of art in society, at the same time that reviews peak moments of classical music.

About Maestrissimo's  (Tatiana de Sarabia) wardrobe, hairdressing and makeup

The starter was the management premise of designing something "precious" based on the palatial fashion of the 18th century. The costumes, of baroque inspiration, do not pretend to be historicist. For the design, pattern and selection of fabrics, I also sought that they were flattering from a current aesthetic sense and, above all, that they were functional, light and comfortable. Four identical characters with slight differences, especially chromatic and hairstyle, to define and distinguish them.

In a tribute to the instruments they play (violin and cello) and taking advantage of the shape of the baroque costumes, in the design I allow myself the freedom to subtly turn them into their instruments. Mast and efes are hinted at leaving the audience to complete.

Regarding the makeup design, we were looking, with Sara Álvarez, for a makeup that seemed from the 18th century but that was easy for them to learn and to maintain during the performance. This led us to simplify it and choose light products such as the mother-of-pearl base that replaces the white base. 

A tribute to the theatrical curtains of the Baroque theater that coexist in a stage box that covers and gives focus to our "Maestrissimos". The scenography has been devised by direction and translated into design by me, more as a "guardian of an aesthetic unity" than as a set designer.  

On the music of the show (Eduardo Ortega)

Starting from a baroque musical aesthetic, Maestrissimo immediately breaks down any stylistic puritanism. Taking Bach and Vivaldi as references in the repertoire, they advance through Mozart, Brahms, Beethoven, Sarasate and of course, through our beloved Niccolo Pagagnini. In search of the perfect work, these four musicians delve into their courtly life in territories unknown to the ear of the time.

In these musical accidents, classical and baroque music coexist with other classics from large rock, pop and jazz groups, movie soundtracks and almost any musical expression (including flamenco singing) that passes through the filter of this quartet, whose A tour of the show highlights the importance of creativity to write the great pages of the history of music and the countless thieves who are always lurking.