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BALLET FLAMENCO DE ANDALUCÍA Artistic direction: Rafael Estévez
FLAMENCOLORQUIANO Sep. Mon 24 | 20:30 | De 22,00€ a 40,00€ | BUY

A fantasy of avant-garde, surreal, flamenco and popular passages that finds that “imbalance from which the contrast emerges as a beautiful theatrical effect” and subject to the anachronism that results in the “condensation of an epoch”, concepts that the poet followed.

Prints that amalgamate thousands of Federicos: from the surreal and experimental Federico to the Moorish Federico, black, Jewish, gypsy and Christian. Two sides of the same coin that has the artistic collaboration with Juan Kruz Díaz de Garaio Esnaola.

And of these races for which Federico felt a sympathetic understanding and that would lay the rhythmic, harmonic and melodic foundations of what centuries would be flamenco, we will travel to flamenco itself, dancing cantes for seguiriyas, granaínas, fandangos, peasant cantes, bulerías, tangos, romances alegrías and soleares, among other ‘palos’, which will be sung with texts by Federico.

They will dance the cantes that inspired him or those that we find in his works, the flamenco cantes he met and those he was surrounded by, such as Manuel Torre, Pastora Pavón Niña de los Peines, El Gloria, Ignacio Espeleta or Don Antonio Chacón. .. And from this real flamenco to the imagined, counted and theorized flamenco of the conferences of the Federico ‘endorsement’, the Federico ‘Andalusian primitive’ and the Federico ‘architect jondo’.

We will dance one of the infinite folkloric sessions that Federico organized in the Residencia de Estudiantes and also one of the many meetings in his room with his friends Salvador, Luis, Pepín or Rafael. They will dance some of the music that Federico included in his plays.

Federico before the piano, harmonizing and preparing the popular songs that he will record with his Argentinian comadre and of which they will dance, among others; Anda Jaleo, Los cuatro muleros, Zorongo gitano or Sevillanas from the 18th century. Federico surrounded by his muses and his drawings, characters and mythological creatures.

Federico surrounded by music, singing, dancing and dances. A Federico compiler of popular songs, generator of flamenco and Spanish music … Because although Federico was not a cantaor, he created cantes, although Federico was not a choreographer, he created choreographies, dances and ballets. Because his concern for popular music and flamenco has meant that jewels that have been lost in time come to this day. Because after more than eighty years of his disappearance, his poems, his works, his songs and his lectures allow creation to the artists of the 21st century …

Federico was sung and sung by gypsies and non-gypsies. Federico we dance the dancers and the dancers. For Federico the guitars, the palmas and the pianos sound. Federico García Lorca is a fountain to which we want to pay homage from the utmost respect and the purest admiration.

Rafael Estévez and Valeriano Paños

ARTISTIC DETAILS

ARTISTIC DIRECTION, DIRECTION AND MUSICAL CONCEPT, SCRIPT AND REPERTOIRE AND ADAPTATION OF TEXTS | Rafael Estévez

ORIGINAL IDEA AND CHOREOGRAPHY | Valeriano Paños and Rafael Estévez

COREOGRAPHIC, MUSICAL AND SCENIC COLLABORATION | Juan Kruz Díaz from Garaio Esnaola

ORIGINAL MUSIC | Jesús Guerrero

ADDITIONAL MUSIC COMPOSITION | Pau Vallet

CHOROGRAPHY OF ZORONGO | Alberto Sellés

MUSIC | Popular Spanish songs collected and harmonized by Federico García Lorca and popular flamenco

ADDITIONAL COMPOSITION (PIANO MUSICAL ARRANGEMENTS) | José Luis Pérez-Vera

TEXTS | Federico García Lorca and popular flamenco and folklore

LIGHTING DESIGN | Olga García

CLOTHING DESIGN | Rafael Estévez

CLOTHING COORDINATION | Mai Canto

VIDEOCREATION | Patricio Hidalgo

ARTISTIC BASKET MAIN DANCER | Valerian Cloths

SOLISTS | Sara Jiménez, Macarena López

DANCERS | Gloria del Rosario, Nadia Gonzalez, Carmen Yanes

DANCERS | Martí Corbera, Borja Cortés, Ricardo Moro, Alberto Sellés

GUITARS | Juan Torres, Pau Vallet

CANTE | Sebastian Cruz, Vicente Gelo, José Luis Pérez-Vera

Flamencolorquiano is a production of the Andalusian Institute of Flamenco, Andalusian Agency of Cultural Institutions.

BALLET FLAMENCO DE ANDALUCÍA

Bailaora restless, curious and somewhat atypical in flamenco. Its versatility allows it to respond to any challenge and adapt to any type of context, keeping in constant evolution.
After a solid formation in Classical and Spanish Dance, he finds in Flamenco the vehicle for his artistic and personal development. After several years as part of flamenco companies such as Antonio “El Pipa”, Andrés Marín, Javier Barón and the Ballet Flamenco de Andalucía directed by Cristina Hoyos, from 2008 onwards she approaches the world of choreographic creation presenting her own shows : “Leoleolé” (2008), “eLe eLe” (2011), “Mosaicos” (2012), “Bitter Orange” (2013) and “Fragile” (2015).
He assiduously also participates in very varied projects, from theater to music of various types (from Flamenco to Baroque, Classical and Contemporary), sharing the creation with other artists. In 2016 he presents the work “JRT”, together with the bailaoras Úrsula López and Tamara López, in which they seek, under the artistic direction of Pedro G. Romero, the flamenco that underlies the painting of Julio Romero de... +

Teatro de la Maestranza + info and programming
how to arrive:

Dirección:

Paseo de Cristóbal Colón, 22 (Casco Antiguo).

Medio: Bus: Line 3 [Stop Paseo Colón-Teatro de la Maestranza], Line 21 [Stop Paseo Colón-Teatro de la Maestranza], Line C4 [Stop Paseo Colón-Teatro de la Maestranza], Line 40 [Stop Paseo Colón-Teatro de La Maestranza], Line 41 [Stop Paseo Colón-Teatro de la Maestranza] and Line C5 [Stop Paseo Colón-Teatro de la Maestranza].

Indicación: It is the work of the architects Aurelio del Pozo and Luis Marín. It was inaugurated in 1991. The main hall has a cylindrical shape with a capacity for 1800 spectators. It is distributed in stalls, two terraces, a balcony and paradise. In the year 2007 a reform was made that doubled the size of the stage, which went from 800 square meters to 1600. Thanks to its variable acoustics, different shows can be performed, from operas to classical concerts and recitals, including flamenco, ballet and zarzuelas. In addition to the main hall, the complex contains experimental theater rooms, exhibitions, conferences and a cultural research center. Of particular note is the Manuel García room, in which chamber operas and small format are represented. Likewise, the Teatro de la Maestranza is the headquarters of the Royal Symphony Orchestra of Seville (ROSS), which not only regularly participates in opera performances, but also has an intense concert season throughout the season. In the 2007 reform, an exclusive testing room was incorporated for ROSS.