El País, September 28, 2008
The title says it all. Her excellence in delivery and expression defies further superlatives. Maria Pagés's new creation is deep and deliberate, an introspection and inward voyage where she harvests the fruits of a bountiful career filled with stellar moments. Her Self-Portrait is in part a look at these performances while showing us the dancer from all angles, a long sequence of images in motion. When it is the moment for a "soleá" or a "tiento" we see the contained scholar dancing with a half moon stage drop behind her. The scholarly dancer in Maria is also apparent in her seemingly simple but effective choreographies, which develop with astonishing fluidity, as well as in her constant search for new forms of expression and display.
Instead of the impressive stages of her previous shows where innovative scenic techniques were put to the use of the dancers, her show Self-Portrait reveals a more denuded Maria without having forfeited us of any content in the delivery. The stage has a darkened backdrop, but is illuminated by a brilliant and effective lighting design, only embellished at times with mirrors and picture frames which could well be reminiscent of her show La Tirana , which so amazed us ten years ago. The corps de ballet blends in as if they had never done anything else in their lives but do her bidding, what is behind her completely fulfills it's purpose. The strings of a violoncello along with the guitars fill the moments of greater intimacy with the artist. With these elements in play, dance and ballet evolve constantly, and what is more important this 'bailaora' or dancer, is always present, never conceals herself. She enters and exits, lines up next to her dancers, takes part in every number and takes upon herself those moments that demand greater expression and intimacy.
Along these lines, the "Nanas de la Cebolla" (Onion Lullabies) become the most emotive moments, danced captivatingly and subtlety. Then again there is one other piece, where she moves to the voice of Jose Saramago reciting his poem "Ergo a Rose" that is of profound beauty. A change of pace follows as she comes and goes through a looking glass till her own alter ego responds. The rest of Maria's show is replete with flamenco in all it's manifestations. With an initial "soleá", a "farruca" choreographed by José Barrios, the final "alegrias" where she filled the large stage with her majestic use of the Spanish shawl, the mantón. We also saw "tientos", "tangos" and had the time to enjoy the fun and camaraderie of some "tanguillos" from Cadiz, dedicated to the dance company and its avatars, as quoted by Maria with surprising self-confidence and sass.
