The timing could hardly have been more perfect. Rosalía’s world tour, the Lux Tour, which kicked off on March 16 in Lyon, almost feels like a direct response to Timothée Chalamet’s recent remarks about ballet and opera.

The American actor, interviewed last month by Matthew McConaughey at the University of Texas in Austin, said bluntly: “I don’t wanna be working in ballet or opera, or, you know, things where it’s like: ‘Hey, keep this thing alive.’ Even though it’s like, no one cares about this anymore.” The Marty Supreme star was referring to arthouse cinema and the importance of keeping theaters open and continuing to produce ambitious films for the big screen – not just for streaming. Still, his words struck a nerve within the global artistic community. The reactions were numerous and often imaginative. Among the most ironic was a social media reply from Alondra de la Parra, director of the Fundación Orquesta y Coro de la Comunidad de Madrid: “Hey Timothée, I think we’re doing pretty well!” she exclaims in a video, before energetically conducting an orchestral rehearsal.

Chalamet, the opera remarks and the lost Oscar

More than one commentator suggested that Chalamet’s careless statement might even have cost him the Academy Award. It’s unclear whether the New York-born actor’s run stopped short of the statuette because of his comments, but the dream slipped away when Michael B. Jordan took the stage at the Dolby Theatre on March 16th. The Academy of Motion Picture Arts and Sciences chose to award Jordan Best Actor for his dual role as twin protagonists in Sinners, directed by Ryan Coogler.

The race had been highly competitive: alongside Chalamet and Jordan’s nominations were Leonardo DiCaprio for One Battle After Another, Ethan Hawke for Blue Moon, and Wagner Moura for The Secret Agent.

What is certain is that Chalamet became an easy target for host Conan O’Brien’s jokes. “Security is on high alert tonight – he joked – I’m told there’s concern about potential attacks from the opera and ballet communities.” Chalamet may well be aware that his words could come back to haunt him – especially considering his own background: his mother, Nicole Flender, studied at the New York City Ballet and performed in several Broadway productions, while his sister, Pauline Chalamet, attended the School of American Ballet until 2010.

Opera in Rosalía’s latest album, Lux

Within just a few weeks, an indirect yet powerful response to Chalamet’s comments arrived – loud and clear – from the stage of one of the most anticipated world tours of the year: Rosalía’s. The tour, which began in France in mid-March 2026, showcases Lux, the Spanish singer-songwriter’s fourth album.

The record draws inspiration from religious and female figures, blending pop culture with symphonic and operatic elements. It’s an ambitious project, written and performed by Rosalía in 14 languages, recorded with the London Symphony Orchestra, and featuring collaborations ranging from Björk to Carminho, from Estrella Morente to Sílvia Pérez Cruz, as well as Yahritza y su Esencia and Yves Tumor.

The lead single, Berghain, had already set the tone: monumental and surprising – certainly less accessible than Rosalía’s previous work, but deeply intriguing and rich in influences, from the fado of Memória to the waltz of La Perla. It’s a reflection on womanhood and spirituality, inspired by figures the singer herself has cited: the lives of various saints, French philosopher Simone Weil, and Brazilian writer Clarice Lispector.

The Lux Tour: a new surprise – ballet enters the stage

Rosalía, however, has always accustomed her audience to surprises – and it was clear she wouldn’t hold back for the Lux Tour, which will move from Europe to North and Latin America. From the very first shows, it became evident that the Spanish artist had also integrated dance into the performance.

Choreography is nothing new in her artistic vision: Motomami was already accompanied by carefully crafted routines, with a dance ensemble enhancing the energy and impact of her performances.

With Lux, however, something changes. Rosalía steps onto pointe shoes and hints at classical ballet movements, accompanied by her dancers. It’s a striking addition that makes the show even more eclectic, moving seamlessly from symphonic music – with a full orchestra in the pit – to techno.

The Berghain remix, produced by Conrad Taylor, has also become an integral part of the concert. An independent initiative that gained such traction on social media that Rosalía herself embraced it, sharing it on her Spotify channel.

Rosalía’s latest work, developed over two years, is a vivid demonstration that no real boundaries can exist between artistic forms. It shows how dialogue moves freely beyond the divide between high culture and pop culture – and how, in art, everything can and should coexist.