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I come back with a taste of Piazzolla

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I come back with a taste of Piazzolla

The Contemporary Ballet of San Martín, directed by Andrea Chinetti, began its return to the stage on Saturday with a program entirely dedicated to Astor piazzolla coinciding with the centenary of the composer’s birth.

A happy return for the company and for the public, with that strange feeling, on the other hand, that time had not passed since the last time, in 2019!, That the curtain of the Martín Coronado room was raised in a function of the Ballet. But undoubtedly time has passed, the reunion has all its strength and the tears that the director could not retain are understandable Andrea Chinetti.

The room was packed within the limits imposed today, together with the mandatory use of chinstraps during the function, the sanitary protocol: 50 percent of its total capacity; in this case, close to 500 spectators, which meant sold-out seats.

The Room Was Packed At The Premiere.  Photo: Carlos Furman

The room was packed at the premiere. Photo: Carlos Furman

The program

The program consisted of four works that were presented in this order: first Here comes the King, a solo created by that great choreographer who was Ana Itelman and which was part of the work Our City Buenos Aires, premiered in 1968 at the San Martín Theater.

This is only a tight synthesis, and at the same time extremely expressive, of a mythical character from Buenos Aires, the compadrito; a “portrait” made of minimal gestures, of highly concentrated actions, as if this compadrito were dancing for himself or as if he were evoking something about him that had happened in another time. Lautaro Dolz’s performance in this solo – both simple and extremely difficult due to the type of highly controlled energy it requires – was outstanding.

The Shows Are On Saturdays And Sundays, Always At 20. Photo: Carlos Furman

The shows are on Saturdays and Sundays, always at 20. Photo: Carlos Furman

Then, and in an effective contrast, Brenda Arana and Rodrigo Etelechea danced the luminous and stimulating Escualo, one of the scenes from Buenos Aires stations (originally released in 1987), by Mauricio Wainrot. It is a duo in which a very fresh game and an openly youthful seduction merge.

The following two works also belong to Mauricio Wainrot and they are located in two distant eras of his career. Libertango it was premiered in 1984 in the Central Hall of the San Martín Theater with some dancers from the company to whom the choreographer had added students from the Theater Dance Workshop.

There Were Four Works In The San Martín Ballet Program.  Photo: Carlos Furman

There were four works in the San Martín Ballet program. Photo: Carlos Furman

A creation that the choreographer thought that due to its characteristics would not last and that nevertheless soon went to the stage of the Martín Coronado room, this time for the complete Contemporary Ballet. Libertango, applauded by the same Astor Piazzolla who was at the premiere, puts on stage that nocturnal atmosphere and that encounter between men and women that make up part of the nucleus of tango’s nature.

Libertango, whose costumes were created by Mini Zuccheri, not only lasted in time, but was later assembled by Wainrot in many companies around the world. Between this work and Four seasons of Buenos Aires, premiered in 2005 at Luna Park, twenty years passed and the maturation process of a choreographer who had been proving himself as such since the late ’70s.

The Dancers Were Magnificent And The Selection Of The Solo Couples Was Very Successful.  Photo: Carlos Furman

The dancers were magnificent and the selection of the solo couples was very successful. Photo: Carlos Furman

Four seasons of Buenos Aires It is a work that, although with a theme and language related to those of Libertango, penetrates more deeply in the relationships that the interpreters establish with each other, in the definition of the different climates of the piece and in all the scenic resolution whose responsibility shared the set designer and costume designer Carlos Gallardo.

The dancers were magnificent and the selection of the solo couples was very successful; Although they were chosen in the first place for their character as cohabitants, that is, as couples in real life (a requirement of the stage protocol), their performances were wonderful beyond any consideration: Daniela López and Rubén Rodríguez, Lucía Bargados and Matías De Cruz, Fiorella Federico and Darío Calabi.

Functions: Saturdays and Sundays at 8 pm until September 11. Tickets from $ 300.

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