Rubén Olmo was crowned on Thursday as the architect of the first success of the royal theater in full capacity after the pandemic.
Actually, the laurels came from series and the choreographer brought them hidden in the stockings.
A tip, that of twigs in contact with the skin, which he owes him to the Bailaora Matilde Coral and with which the director of the National Ballet of Spain meets before each great premiere.
With or without augury, the expectation was maximum, both in artistic terms (an ambitious program designed tailored to an unabarcable figure such as Antonio Ruiz Solar) as sanitary (with the room to the flag “in search of the antidote -Concede elm between boxes
– The precariousness of the bodies during the confinement “) and even union (since the strike of INAEM technicians forced to delay the premiere one day).
To celebrate the centenary of Antonio (1921-1996), the show started with the Sonatas that the Choreographer and also Director of BNE conceived for the film Elf and Mystery of Flamenco de Edgar Neville: Ambiente Aesthetics Goyesca and a perfect combination, divided
In nine paintings, from school bowling and classical dance of great complexity.
The musicians of the Symphony of Madrid, led by Manuel Coves, were responsible for rocking the braceos and the touches of stick with a beautiful assortment of Sonatas del Father Soler.
With the downdoor, the dancers Irene Tena and José Manuel Benítez in Vito de Gracia, were paraded, an exultant recreation (released in April in the Maestranza de Sevilla) of the famous Hollywood scene Canteen with which Rosario and Antonio
They entertained the long wait of the soldiers on the front.
One of the most celebrated moments by the audience was the martinete, an exclusively masculine cast, who opened the flamenco prints to invoke the magical afternoon in which Antonio danced for the first time this stick under the new Bridge of Ronda.
Without renouncing the unmistakable aroma of Flamenco Primigenio, Rubén Olmo and Miguel Ángel Corbacho dared to update the patent with a mixture of rigor and insobble curiosity to conquer new horizons from a more contemporary conception of space and rhythm.
Olmo himself went into the depths of a mining cave, in whose penumbra a Taranto danced and peeked into the abyss of an overwhelming silence.
“With the guitar containing his breath,” he confesses back to the dressing room, “I felt like a funambulist who walks through the thin line that separates two times and at the same time it is a meeting at several generations.”
At the beginning of the second part, Esther Jurado, the company’s leading dancer, looked at an imposing black-tailed gown with Hoyos López Rhinestone in Legend, Choreography of Carlos Vilán inspired by Asturias de Albéniz, one of Antonio Fetish composers
Together with Pablo Sarasate, who lent his music to the stylish stylish and virtuous, almost a rhythmic evolution of the tap, by José Manuel Benítez, whom the public entertained with a long ovation.
The goal that had been marked by the BNE, and that it was growing, was no other than to synthesize in a generous spectacle, the breadth of sight, styles and techniques of Antonio.
Hence, the final brooch was dedicated to the popular dances through the Galaic Fantasy that, in 1956, he went to the Holy Companion through the Generalife Gardens.
Before going on stage, Olmo brought together his dancers in the courtyard of armchairs for a last tip: “This theater is very large, in every way.
You have to project the body as the voice of the singers, with the look on the sky. ”
