Created between 2021 and 2022, during a period of isolation linked to the COVID-19 pandemic, Vórtice (for the End of Time) starts from the very possibility of the end of one Time and the beginning of another. In many ways, it draws close to an important 20th-century musical work: Olivier Messiaen’s Quartet for the End of Time, which was also composed during a time of isolation (even more traumatic, during World War II). From Messiaen’s Quartet, Vórtice (for the End of Time) also takes its basic instrumentation: piano, violin, cello, and clarinet. Building on these references, Vórtice (for the End of Time) explores different visions of the end of time within the music itself: what if we forgot how to play our instruments? What if the music lost its rhythm? What if it disappeared altogether? In this sense, the various artistic elements work together to create an idea of the end of one time and the emergence of another, exploring concepts of memory, revolt, and technology. This gives rise to a dark, ghostly imagination reflected in the show’s dramaturgy. Images of melting clocks (“The Persistence of Memory”), radioactive cataclysms (“Electricity” and “Vortex”), and mystical evocations of the power of water and fire in a kind of post-apocalyptic world (“Cycle of Internal Waters”) are all conjured.