A tribute, in music and movement, to the most erudite of Brazilian popular composers, Ernesto Nazareth (1863-1934), the 1993 ballet Nazareth brings to the stage, with unexpected refinement, the sensuality and playfulness of Brazilian ballroom dancing. Based on the work of the brilliant creator of the "Brazilian tango," the São Paulo composer and writer José Miguel Wisnik uses the concept of melodic mirroring to operate retrograde movements that, induced by computer, unveil surprising and crystalline musical constructions, in an absolutely original and contemporary recreation of Nazareth's work. These are commentaries, quotations, variations that, always drawing from the same source, end up flowing into other arms of the sea. The erudite and the popular also meet and merge in the kinetic and visual re-creation of Ernesto Nazareth's genius by the Grupo Corpo creative team. In keeping with the original music, Rodrigo Pederneiras creates a mirrored choreography, full of ambiguous images and scenes that come and go, giving Nazareth a spatial treatment that appropriates the "black box" of the theater to glide with irresistible lightness and fluidity across the floor of polkas, chorinhos, and maxixes laid out by Wisnik and his inspiration. In shades of gray, black, and white, Freusa Zeichmeister's costumes have bold lines bordering on futurism, and accessories that recall the elegance of the beginning of the last century. Fernando Velloso's set design features fourteen three-dimensional roses, 1.70m in diameter, molded in metal mesh that, suspended by steel wires, float in the background of the stage. In shades of amber and peach, Paulo Pederneiras' lighting completes the ambiance of this postmodern Nazareth. Which was born a classic.