FESTIVAL DE JEREZ 2005. MARÍA PAGÉS: ‘CANCIONES, ANTES DE UNA GUERRA’

Entertainment

Silvia Calado. Jerez, 28th February 2005

‘Canciones, antes de una guerra’. María Pagés Company. Idea, concept and script: María Pagés, José María Sánchez. Choreography: María Pagés. Dancers: María Pagés, María Morales, Sonia Fernández, Mar Jurado, Cristina Tomé, Guadalupe Torres, José Barrios, Emilio Herrera, Noé Barroso, Joaquín Mulero, José Antonio Jurado. Vocalists: Ana Ramón, Paco del Pozo. Guitarists: Fity, Isaac Muñoz. Percussion: Chema Uriarte. Special guest: Tsidii Le Loka. Teatro Villamarta. Jerez, 28th February 2005. 9pm.

	María Pagés (Photo: Daniel Muñoz)

And the fact is that art is entertaining too. María Pagés offers with these ‘Songs, before a war’ a palatable show, one that could be termed suitable for all the family. It appeals to the general public, arousing sensations using well-known songs that are all danced to with a flamenco twist. Some are playbacks of original recordings, like ‘Boquerones del alba’ by Angelillo, ‘Tatuaje’ by Concha Piquer, ‘Nanas de la cebolla’ by Serrat and ‘When the saints go marchin' in’ by Louis Amstrong. Others are cover versions performed live, such as ‘Guitarra dímelo tú’ sung by Ana Ramón, and ‘Duerme negrito’ by Atahualpa Yupanqui and ‘Imagine’ by John Lennon, performed by South African female guest vocalist Tsidii Le Loka.

As in the well-known post-war Spanish film ‘Canciones para después de una guerra’, the show makes good use of the element of surprise. It incorporates unexpected elements, even jokes, although to achieve this aim it sometimes perhaps sacrifices the elegance and ornamental purity which have come to be synonymous with the Seville-born bailaora and choreographer's work. But with this in mind, the production is impeccable. Her solos combine sensitivity with the visual aesthetics that characterize her physique and body movements. Spiraling arms. Snake-like body. The pieces she choreographs once again are a lesson in how not to repeat oneself in group movement, and even in the positioning of the musicians on stage. Dynamic. Original. Fresh. All of this is framed by a fundamental element of the stage design: the double curtain with multiple openings, a backdrop that provides a rich contribution to the overall atmosphere. The whole company shares a common wardrobe design, providing a thread of visual unity that weaves the different numbers together. Overall the production feels comfortable. But that's not to say the company rests on its laurels - they're just as exacting and pay just as much attention to detail in all the creations they take to the stage. And the rewards are abundant: the generous applause of a satisfied audience.

The future of female flamenco dance

María José Franco (Photo: Daniel Muñoz)

But this festival doesn't live on superproductions alone. The fourth day of the festival, which saw Antonio Canales performing at lunchtime in the Bodega de San Ginés, also saw the start of the ‘Conciertos de Palacio’ at the city's Alcázar. The afternoon concert at the grand venue featured a double bill of guitarist Diego del Morao and cantaora Laura Vital. And at midnight the ‘Solas en Compañía’ season, dedicated to promising newcomers of female baile flamenco, got off to a flying start. Bailaora María José Franco - Antonio el Pipa's stage partner in ‘Pasión y ley’ - prepared three pieces for the occasion, separated by prolonged vocal interludes that interfered with the flow of the recital... of flamenco dance. Seguiriyas. Taranto and tangos. Alegrías. The Cadiz-born dancer performed with elegance, maintaining a good equilibrium between floorwork and posture. The Gran finale 'por bulerías' was the icing on the cake of a day of incessant rain, which did little to inspire audiences to continue late into the night, although there's always someone to see in the morning in time to the music.

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