From Mozart to Berghain, Rosalía’s LUX Bridges Centuries of Musical Temptation
Rosalía’s new album LUX crosses eras and genres, uniting the refined world of Mozart with the throbbing pulse of Berghain. Created with the London Symphony Orchestra under Daníel Bjarnason’s direction, the project channels centuries of musical desire and spiritual reflection.
Before the frenzy of Beatlemania came Lisztomania; before modern club culture, people waltzed in beer halls and sang openly passionate operas. Emotions remain timeless even as tastes shift — what once thrilled in 3/4 time eventually found rhythm in 4/4. Both music and religion, it seems, evolve with their eras.
LUX portrays Rosalía’s personal search for divine connection, drawn from her Catholic roots, classical thought, New Age influences, and elements of Islam. The album constantly dialogues with musical history, echoing and reshaping it through her distinctive lens.
Moral Danger and Redemption
Structurally and thematically, LUX resonates with Mozart’s Don Giovanni — that daring nobleman whose charm could not save him from fate. Just as Giovanni faces ultimate judgement, Rosalía and her characters navigate perilous moral ground until their story reaches an inevitable conclusion.
“Questo è il fin di chi fa mal, e de’ perfidi la morte alla vita è sempre ugual.”
Translated: “This is the end of one who does evil, and for the wicked, death is like life.” The echo of this refrain lingers in LUX, a reminder that even in beauty and rhythm, mortality and consequence await.
Author’s Summary
Rosalía’s LUX merges sacred and sensual traditions, blending centuries of musical reform and spiritual yearning into a bold, orchestral confession of modern humanity.