‘A journey to magical love” is the title of the new show presented by the Spanish Community Ballet of Madrid, a company founded just over a year ago, which during that time has already seen progress … Its first artistic director was Jesus Carmona. Now the group is headed by its Board of Directors, which consists of: Gala Vivancos, Monica Fernandez and Antonio Castillo Algara.
This trio (who also designs the show’s costumes) was put in the hands of Olga Periset (In cooperation with Ivan Amaya) and the Estevez-Baños couple (Rafael Estevez and Valerian clothing) This is the second show, the backbone of which is Manuel de Falla. “Seven popular songs”Homage to Tombo by Claude Debussy‘and’Enchanting love” are the results that will be heard (along with the original music of Danny from Moron) performed by the Community Orchestra of Madrid (Orcam), conducted by its owner, Alondra de la Parraand for Diego Garcia Rodriguez.
Olga Perisset choreographed the first part of the show: the overture, “Seven Popular Songs” and “Homenaje pour le Tombeau de Claude Debussy” – “I always wanted to choreograph that piece, because I always loved that music,” says the artist from Cordoba. He adds that choreographing the “songs” was a challenge, and he wanted to give each one a different style from the various disciplines of Spanish dance.
He called for this Evan Amaito; “We are now a team and this is essential for me. I took on a lot of responsibility and there were a lot of different types of movement in the piece, which I know well, but I needed to recycle it, update it and bring it to a more modern scene, which is what I am moving towards.”
It is the music and rhythm itself that characterize the choreography of each song. “There was landscape music like Asturiana; Others are very well known like “Murciana Seguidilla” or “Jota”, and others that took me to Bowling schoolsuch as “Moroccan cloth.” Olga Perisset adds that the biggest challenge “was not to consider it just a plastic and aesthetic thing, but to take it into my field of work and tell a small story, very small, but that can captivate the viewer.”
The almost disappeared Bolera school is evident in the choreography. Olga Beresit drank from its original sources thanks to her family, traditionally associated with this style that can be seen almost exclusively today. “It’s the school of bowling that I learned from my uncles, who I was in touch with to bring contemporary bodies but with a big base.” There are also regional folklore and dances.
«It is clear – concludes Olga Peresit – that there is always a personal line within all this traditionalism; My poetry and my way of adapting the body to a more modern dance, and as a key is the avant-garde of the time; “Homage pour le Tombeau de Claude Debussy” is, specifically, key On to the second part of the presentation.
Rafael Estevez and Valeriano Baños are responsible for this sequel, two choreographers who have been creating together for more than twenty years. An overture entitled “Hallucination” – with music by Dani de Meuron – lets us into the ghostly story that María de Lejarraga wrote more than a century ago (although she signed it, like her other works, Gregorio Martinez SeerA, her husband). “This universe – as the choreographers say – has inspired us with its myths The rosary of the monk “La Majorana” Which Falla heard and which inspired him to create that piece, which Pastora Imperio – specifically the daughter of La Majorana – would premiere, to editions Antonia Mearsl Argentinian…to create our own version of history.
‘Charming loveIt was first performed as a ballet – “Gitanería in one act and two paintings” – at the Teatro Lara in Madrid on 15 April 1915. Ten years later, in 1925 (a hundred years ago now), the final symphonic version was premiered, and it is the version used in this performance. “We were also inspired by all the people who contributed to the publication of the work in both versions, as well as their personal stories.”
They continue that their version is “like a reflection in a broken mirror, a kaleidoscope, or a mosaic…it is our vision from the present time of history.” “El amor brujo” is a work that has been on their minds since they started as a tandem in 2003, they admit. “But life is smarter than anyone, and it came when it had to come, at a time when we are creative, strong and mature.”
There is a lot of research behind this “El amor brujo”. “Unfortunately, we were of course unable to see the versions of Pastora, Antonia Merci and La Argentinita. But they marked us antonio ruiz soler, Film versions – the first from 1949, with Ana Esmeralda and Manolo Vargas; That Gadis with La Pollacca and Rafael de Cordoba; Or that of Carlos Sora And his own Antonio Gadis-. They affected us all and left no trace, because in the end we did not even turn to the history we all know. We did a lot of research so we could make our own version, which has been around since the murder of the Seville dancer Maria Montero Set in New York in 1928 – where he was shot to death by his mistress – this allowed us to address current issues such as the abuse of women, toxic relationships, or codependency.