The bailaor transformed | Culture

The bailaor transformed | Culture

This time, the provocation took on the form of a woman: the bailaor transmuted into his carnal aunt, Eduarda de los Reyes, who we do not know if it is fictitious or real, the same applies. In addition, to address the challenge of the well-known work of Falla, he chose to sit or just leave the chair around which evolved. The position did not prevent him from dancing with his whole body-bouncing, stomping … -, gave him to expose some of the language by which he is recognized, no matter how much he disguises himself, and even, to add new forms to the expression. That's how it was, at least, during the twenty-odd minutes that the original composition lasts.

The score, performed on piano alone, obliges, and Galván, we do not know if by that tie, he decided to associate the fidelity to the work with a sitting state, although only in appearance, since the movement is permanent and takes multiple forms. It is dominated, yes, by a certain parsimony, away from the frenzy of recent creations. It seems that the artist has opted for a certain restraint this time, with which the emotions are of different character and there may be someone missing something more dance, agitation.

Israel Galván He has never hidden that, as a child, dancing was a condemnation. As a teenager, in academies or companies, The love wizard, could have assumed another, forced as it was to his repeated representation. It has taken time and distance for the reunion, so that the composition motivated him to become a vehicle of his constant search, changes in his dance and in his body, of new records. It was clear that, with these premises, his approach to the work had to be substantially different, something unimaginable associated with Falla until now.

The investigation, common to all his creations, has taken him from the 1915 version, for Pastora Imperio, to the 1925 version, for Argentina. Of the two-a logical escape from clichés-he has been left with only a few drops of his esoteric component, perhaps transferred to his own clothing, which could be reminded of a gypsy, and a couple of scenic details. But, above all, the tracking of that temporary space that goes from the first to the second version, what it has provided Galván, as well as footage to configure a representable show, is musical matter, coming from some discards, and some dose of freedom to complete your vision of The love wizard.

He makes use of it in a way that is perhaps too modest, which could disappoint. Very different was the autonomy of the pianist Rojas Marcos, impeccable in the interpretation and reading of the original score. Once completed, the piano would create the mysterious atmosphere that until then had not existed. It was a part in which the evocation of the time in which it was composed seemed to prevail The love wizard, with its music and its echoes. Essential, in that purpose, it was the work of the cantaor David Lagos who, in the first part, had stood out for the adaptation of his voice to the position of mezzo-soprano woman, later flamenco, for which the work was composed. Courts of Pastora Imperio and Don Antonio Chacón framed this evocation of the era in which Lagos displayed a rich multiplicity of songs and records. Upon leaving, among the attendees, faces fused with satisfaction were fused with others who still maintained some form of interrogation about what was seen. They have never left Galván's shows indifferent. Not this time either.


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