Lastly, somewhat over a month earlier than the scheduled date, the Colón Ballet, beneath the route of Paloma Herrera, returns to the scene in particular person for its first program of the 12 months, on an actual stage and in entrance of an viewers of flesh and blood, with two works commissioned and mounted within the very troublesome situations of the planetary pandemic.
Whereas the return it was scheduled for July 23, the contagion of Covid from a dancer of the corporate within the earlier week compelled a brand new postponement, which was acquired with huge frustration by its members.
The titles with which the Ballet will return to the stage are Gale, of the younger choreographer and in addition dancer of the Maximiliano Iglesias firm, and Itinerary Piazzollaby Alejandro Cervera.
The foundations of distancing compelled Cervera to sharpen the ingenuity in Itinerario Piazzolla. Picture Maximo Parpagnoli
Each are Argentine artists, however maybe it’s the solely side they’ve in widespread, though the coincidence will not be with out significance as a result of it’s uncommon that works by nationwide choreographers coexist in the identical firm program.
Two totally different routes and the identical difficulties
In any other case, Iglesias and Cervera have extraordinarily totally different routes: For the primary, skilled first on the Julio Bocca Basis after which on the Instituto del Colón, and who at age 16 entered the Ballet within the class of corps de ballet, it’s his first actually skilled expertise as a choreographer.
Alejandro Cervera, for his half, was member of the Modern Ballet of San Martín, later co-director and creator of quite a few works for that very same firm, in addition to for the Ballet del Colón and different teams within the inside of the nation and overseas.
Nevertheless, each needed to face the unusual and unprecedented problem that suggests the meeting of a piece ruled by the strictest protocols – blessed phrase – sanitary.
for gale, Maximiliano Iglesias opted for a restricted variety of dancers. Picture Maximo Parpagnoli
When the director Paloma Herrera invited them to work with the Colón Ballet, very exact situations have been established: past social distance, They might not have surroundings, or scenic adjustments that suggest the necessity for props, nor stay orchestra.
A wind filled with power
Thus, by modifying an preliminary venture of nice dimension that he had in thoughts, Maximliano Iglesias was narrowed all the way down to a solid of ten dancers round a central concept: to proceed delving into the language of classical ballet ranging from a piece by Tchaikovsky referred to as Stations; very inspiring music for him though the choreography lacks plot or story.
Concerning his curiosity in delving into classical ballet, he explains that “when someone begins to create, the usual thing is that they look for more contemporary vocabularies.” “For me, however,” he provides. classical ballet is an inexhaustible world and in which you’ll all the time delve into ”.
Iglesias bets on classical language, which he finds inexhaustible. Picture Maximo Parpagnoli
The title of your work, Gale, is linked to his expertise as a dancer on stage on the Theater. “Whenever the curtain on the Colón opens, and I don’t know why, a strong wind comes from the stalls towards the stage”, reveals the dancer and choreographer.
And he continues: “I always felt that that wind carries a lot of energy from the expectant public; that it is something magical even if it is real and that it gives you the impulse to take the first step. I think is what we were missing: to be on stage, be in contact with the public. That strong air that pushes you to start moving. That’s where the title comes from ”.
A Piazzolla with protocols
For Cervera, Piazzolla’s music was always interesting, but he never defined himself as a follower of the composer. However, already had created choreographies linked to tango, although looking for other types of sounds.
On Tango Vitrola (1986), for example, used recorded versions of very old tangos, while in Hit tangos (2008), also created for the Ballet Contemporáneo del San Martín, chose pieces for piano by Juan José Castro.
“In 2019 I read that this year 2021 coincided with the centenary of the birth of Astor Piazzolla and that there would be many reminders. I thought it would be interesting to imagine something about it. But when the Covid and the distancing set in, I found it difficult to imagine a work related to tango, which is so closely linked to embraces, to closeness, to intertwined bodies ”, he says.
With out being a “piazzoliano”, Alejandro Cervera discovered his inspiration within the music of Ástor. Picture Maximo Parpagnoli
Anyway, in the course of the confinement he devoted himself to listening to songs by Piazzolla to see what he felt and what they brought on him. His choreography, based mostly on Carmen, which was to be a part of the 2020 season of the Ballet del Colón, had already been rescheduled for 2022, in order that Cervera wager on a somewhat restricted venture based mostly on the music of Piazzolla.
“I thought of the work with all the limitations that I would find in terms of number of dancers and distance. There are scenes of men alone, women alone, one with couples who do not touch and a duo in which there is a large bed, an object that links them but does not bring them closer. There is no narrative in Itinerary. The work arose, as it usually happens to me, from a musical plan ”, he concludes.
The premiere of the double program composed of “Vendaval” and “Itinerario” goes on Thursday, September 2, at 20. The next features might be between Friday 3 and Saturday 11 at 20 and Sunday 5 at 17. Monday 6 no operate. Colon Theater, Libertad 621