The dancer María Pagés shines with "Sevilla"
María Pagés knows what she wants and knows how to get it. After Flamenco Republic in the Teatre Novedades, she wanted a grand stage for a grand show. The only possible choice of stage to present Sevilla, a first class show, was the irreplaceable Teatre Liceu. María Pagés is a great artist. But her greatness is not only in her physical size, but in her extraordinary capacity of knowing how to bring together the most ancestral flamenco and the expression of contemporary dance.
Montse G.Otzet
04/08/2008 EL PERIODICO -Barcelona
Sevilla is the fruit of this combination, with a mise-en-scene that is austere but brilliant, deep yet entertaining, spontaneous yet balanced. María Pagés is not only a notable dancer and choreographer, but is also an excellent businesswoman, as she knows just how to situate flamenco dance within the cultural movements of the present day, without giving way to a simply easy or exhibitionistic level of the art.
Each element in Sevilla - the idea and development of which is shared by Pagés and José María Sánchez - deserves more than half the space of these lines. Right from the poster (an exquisite work of art signed by Ouka Lele) to the extraordinary design of the lighting, stage décor and wardrobe. A work of visual filigree that enables us to enjoy this invitation to a creative dream offered to us by the artist.
Sevilla includes 11 fragments related to Pagés's map of emotions. There are references to the light in the streets, the ambiance of the dance academy, the Maestranza (Bullfighting ring in Sevilla), to Triana (a neighbourhood in Sevilla), to fans, shawls and red shoes with white polka dots on them. This is a display of textures and sensations that hypnotise us, in which the artist has mixed pieces of music as disparate as flamenco and a Shostakovitch waltz, a tango by Gardel or a song by Modugno; as well as lyrics written by Saramago, Garcia Lorca or Machado.
Vivid and eye-catching choral scenes give us a magnificent counterbalance to Pagés's excellent solos. A shower of movements, amongst which one should highlight the rippling sway of her body and the harmonious expressivity of her arms.
Each element in Sevilla - the idea and development of which is shared by Pagés and José María Sánchez - deserves more than half the space of these lines. Right from the poster (an exquisite work of art signed by Ouka Lele) to the extraordinary design of the lighting, stage décor and wardrobe. A work of visual filigree that enables us to enjoy this invitation to a creative dream offered to us by the artist.
Sevilla includes 11 fragments related to Pagés's map of emotions. There are references to the light in the streets, the ambiance of the dance academy, the Maestranza (Bullfighting ring in Sevilla), to Triana (a neighbourhood in Sevilla), to fans, shawls and red shoes with white polka dots on them. This is a display of textures and sensations that hypnotise us, in which the artist has mixed pieces of music as disparate as flamenco and a Shostakovitch waltz, a tango by Gardel or a song by Modugno; as well as lyrics written by Saramago, Garcia Lorca or Machado.
Vivid and eye-catching choral scenes give us a magnificent counterbalance to Pagés's excellent solos. A shower of movements, amongst which one should highlight the rippling sway of her body and the harmonious expressivity of her arms.
