Our ballet barres have once again demonstrated their versatility and professional performance, this time in a very special setting: the academy of Operación Triunfo, Spain’s most popular musical talent show. The session was led by Gloria Morales, dancer, teacher, and creator of Ballet Fit, a discipline that fuses classical ballet technique with fitness training to improve posture, strength, and body awareness.

During the class, the contestants of the program worked with six of our Pina double mobile barres. The result was an energetic and inspiring session that showed how ballet can connect with other forms of movement to create new ways of expressing the body.

For some participants, it was their first experience at the barre, and they embraced it with curiosity and enthusiasm, following Gloria’s rhythm and guidance throughout the session. In a television environment where every detail matters and spaces must constantly adapt, our Pina barres proved their reliability once again: quick to assemble, stable during every exercise, and perfectly suited for paired work.

The Pina is one of our most recognized and versatile ballet barres. Designed for schools, academies, and dance companies that need mobility without compromising stability, it combines elegant lines with a robust steel frame and balanced weight. Its double wood barres at two heights make it suitable for users of different statures, while its stable bases, available with flat or wheeled supports, include rubber stoppers that protect the floor and prevent unwanted movement. Thanks to its easy assembly, the Pina adapts perfectly to spaces that require flexibility, whether in dance studios, fitness centres, or television productions that demand professional and aesthetic equipment.

At Dinamica Ballet, we’ve been designing and manufacturing professional equipment for dance, performing arts, and fitness for over two decades. Seeing our barres in such a dynamic creative environment reaffirms our purpose: to create tools that support dancers, teachers, and artists in their technical and artistic growth. This collaboration reflects how classical dance continues to merge with other disciplines, giving rise to new ways of moving. We embrace this evolution, providing the tools that inspire and sustain every form of movement.

At Dinamica Ballet, we have a tradition of naming our products after the world of dance, opera, and the performing arts—seeking names that convey elegance, strength, and personality. The name of our professional wall mirror, Figaro, pays tribute to one of the most brilliant and subversive characters in the history of the stage: Figaro, the protagonist of The Barber of Seville and The Marriage of Figaro.

Created in the 18th century by French playwright Pierre-Augustin Caron de Beaumarchais, Figaro is much more than a comic figure; he represents intelligence, freedom, and the will to challenge the established order. At Dinamica Ballet, we were inspired by his strong character and stage presence to name a mirror designed to be a solid, elegant, and versatile working partner.

The journey of an extraordinary character

Figaro first appears in The Barber of Seville (1775), as a clever and determined barber who helps Count Almaviva win the heart of Rosina. Using wit and cunning, he manipulates the situation in favour of the lovers, outsmarting figures of authority.

Beaumarchais brings Figaro back in The Marriage of Figaro (1778), now a servant to Count Almaviva, preparing to marry Susanna. But his master tries to invoke the feudal “droit du seigneur,” claiming the right to seduce Susanna before the wedding. Figaro must then stand up to him. Although comedic, the play delivers a bold critique of aristocratic privilege and foreshadows the revolutionary spirit that would soon sweep across Europe.

Figaro’s story concludes in The Guilty Mother (1792), the third and lesser-known installment of the trilogy. Here, Figaro is a mature man still in service to the same family—now shaped by the passage of time and past mistakes. With a more serious and melancholic tone, the play closes the narrative arc, portraying a Figaro who, while still sharp, has evolved with the turbulent times of the Revolution.

From stage to score: Mozart, Rossini and opera as a voice for change

Beaumarchais’ plays transitioned from the stage to the grand operatic repertoire. In 1786, The Marriage of Figaro was adapted by Wolfgang Amadeus Mozart with libretto by Lorenzo Da Ponte. Though the original play was banned in Vienna for its political content, Da Ponte managed to tone down the most controversial elements to pass imperial censorship. Still, the opera preserved the subversive spirit of the original play, defending intelligence, dignity, and liberty against the privileges of class. Mozart turned this story into one of his greatest masterpieces, using music to add emotional depth to the characters and amplify its humanist message. The opera was, in itself, a quiet revolution—proof that art can challenge the status quo with humour, beauty, and ingenuity.

Three decades later, in 1816, composer Gioachino Rossini premiered his version of The Barber of Seville, based on Beaumarchais’ first play. It can be seen as a prequel to Mozart’s opera, written thirty years earlier. This two-act opera buffa captures a young, exuberant Figaro brimming with energy. His famous aria “Largo al factotum” became one of the most charismatic and iconic musical portrayals in operatic history. If Mozart introduced us to a mature Figaro confronting power, Rossini gave us a vibrant image of the character in full bloom.

A tribute to stage and movement

With the Figaro mirror, we pay homage to that spirit: to the talent working behind the scenes to make great performances possible, to the intelligence that solves and transforms, and to the beauty of movement honed with discipline. A good mirror doesn’t just reflect the body—it reflects attitude, intention, and the will to grow. Just like Figaro, who never gives up and always finds a way forward.