Cruzando la cara de la Luna is now on at Teatro Nacional Sucre de Quito, the first South American venue that hosts this international success, and soon released in  United State and Mexico

Premiered in 2010 in Houston, and with performances in San Diego, Paris, Chicago and New York, the first mariachi opera continues its tour in Latin America.

The production tells the story of a family of immigrants divided by the United States and Mexico border. Cruzando la cara de la Luna (Crossing the face of the Moon) was presented this weekend at the Teatro Nacional Sucre in Quito, Ecuador. The first South American venue to host this international success. The production will then, return to the United States with a special show in Texas and in December it will visit Mexico for the first time.

The unique piece explores, through Mexican music, the phenomenon of displacement and migration. Through a nostalgic performance -despite the lively tone of the trumpets, the work invites the viewer to ask what or where is the true home of immigrants, the feelings and sadness of families that are separated in search of a better and sustainable future.

Mariachis and a dozen dancers and singers, including three artists from the original production, give life to this raw history, the reality of many families who migrate with the idea of ​​getting out of poverty and improving the quality of life, without knowing that your future may actually be uncertain.

Inspired by the story of his father, an Italian who left his country for the United States, Foglia created the plot “Cruzando la cara de la Luna” with an initial scenery in which a man dies while remembering the death of his wife trying to cross the border that unites Mexico with the North American country.

For Foglia, the approach to the phenomenon must consider immigrants as individuals, not statistics. “On this occasion I try to tell the situation from a family to give a particular treatment to immigration,” he said. And he pointed out that “the difference between US and Latin America is that in the US they are all immigrants and you have to see how many generations ago they are”.

In his Ecuadorian presentation the work counted on the intervention of the Lyrical School, the Mixed Choir City of Quito and the participation of the Mariachi Sol de Plata. The musical direction under the baton of Chía Patiño, the stage of Foglia, and the costume design is by César Galindo.