Igor Escudero Morais is a Spanish composer. He is the author of thirteen operas (including this trilogy based on «I, Claudius»), three musicals, three profane oratories, concerts, soundtracks for documentaries, OST for audiovisuals and short films, sacred and profane choral music, cantatas and a great variety of chamber pieces. He has written works for three albums, for nine RTVE documentaries and several national and international festivals.

After releasing I Claudius, in 2020 he premiered the second part of his ‘Tríptico Becqueriano’ in the ‘Festival de las Ánimas’. In 2021 he premiered «Los Comuneros» (commissioned by the Courts of Castilla y León to commemorate Fifth Centenary of the Communal Movement) and «La leyenda de Tamonante». In 2022 he premiered «Borderland», which earned two nominations for the MAX awards in Spain. 


William Graves at the premiere at the Roman Theater in Mérida

The score for «I, Claudius» and «Claudius the God» is challenging to characterize because it blends the modes and melodies of the Ancient World, interconnecting them with the physical origins of music, and interprets them using a tempered instrumental framework.

The musical structure and form of the score are also distinctive, deviating from traditional canons, formulas, and structures to approach a new dramatic synergy.

Hence, the opera contains an unusual number of characters (56), as well as temporal and spatial jumps. This is why its plot spans seven decades of Roman history, incorporating narrative elements and techniques from other genres, such as constant changes in location or the use of flashback. The use of a bestseller as the dramatic foundation for the trilogy was not accidental either.

«I, Claudius» aim to promote the evolution of the canon and propose new musical and stage challenges. The work should be seen as an innovation project not only due to the complexity of the libretto and the magnitude of the cast but also because of the characteristics of the score.