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Early on in the Argentinean film “El Último Traje” (The Last Suit), which makes its U.S. theatrical debut this week, a deceptively quaint and humorous scene takes place between the film’s protagonist, 88-year-old Abraham Bursztein and his young granddaughter. The little girl refuses to join in a family photo with Abraham surrounded by his many grandchildren. When he cajoles and insists, ..

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Flamenco Festival 2018 y el regreso de Ballet Nacional de España

Photo: Los bailarines y músicos de Ballet Nacional de España en “Júbilo” de “Suite Sevilla”. Fotógrafo: Daniel Azoulay (Cortesía del Arsht Center)
Written by: Orlando Taquechel
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La undécima edición del Flamenco Festival que se desarrolló del jueves 8 al domingo 11 de marzo en el Arsht Center resultó ser un hermoso reencuentro con el Ballet Nacional de España (BNE), una de las compañías visitantes favorita del público de Miami.

Fundado en 1978 bajo el nombre de Ballet Nacional Español con Antonio Gadescomo primer director (1978-1980) BNE es dirigido desde septiembre de 2011 por el bailarín y coreógrafo Antonio Najarro, que ha logrado mantener y enriquecer el repertorio de la compañía con obras en los estilos fundamentales de la danza española (la Escuela Bolera, la danza foklórica, la danza estilizada y el flamenco) y al que ha incorporado igualmente otras maneras de hacer propias de la danza teatral contemporánea.

En esta ocasión BNE presentó su famosa y premiada “Suite Sevilla” (2012) en una versión en doce cuadros que ahora incluye dos unidades que no formaban parte del original: “El Encierro” de Manuel Liñán y la “Soleá del Mantón” de Blanca del Rey.

Ambas piezas son adiciones magníficas que se agradecen porque le permiten al espectador apreciar de nuevo la pequeña joya que creó Liñán para el ballet “Sorolla” en 2013 y entrar en contacto con una obra emblemática del flamenco teatralizado que data de 1981 y fuera cedida a BNE en junio de 2015.

“Suite Sevilla” comienza de forma espectacular a la manera del teatro de variedades (y del Tommy Tune de “Will Rogers Follies”) con todos los bailarines – 9 hombres y 9 mujeres – hincados en proscenio transformados en alegres crotalistas que parecen darnos la bienvenida. El efecto es sensacional.

Hay un elemento circular al fondo del escenario que va a mantenerse inamovible toda la función y servirá como pantalla para proyectar siluetas, paisajes o dibujos que sugieren las circunstancias o ubicación de la acción.

A continuación se presenta “Calle del Infierno”, un solo de Escuela Bolera a cargo de Deborah Martínez. Las áreas concéntricas del círculo giran pero nada distrae la atención del público ante el desempeño exquisito de la intérprete.

Se oscurece entonces el escenario para dar paso a una coreografía de grupo titulada “La Alfalfa”. Los hombres y mujeres visten de negro. Estas últimas lucen peineta sujetando el largo velo y portan abanico. En la pantalla circular aparece la imagen de Cristo. Todo sugiere que intención de Najarro es lograr una visualización de la danza que vaya más allá de bailar con la música y el resultado lo emparenta con Bob Fosse en el port de bras de los hombres y la postura de los grupos en los momentos de desplazamiento pero la imaginería de la Semana Santa sevillana se impone y le reclama pertenencia sobre el material.

En “Esperanza”, que viene a continuación, Immaculada Salomón es una mujer vestida de blanco (la novia de “Bodas de Sangre” de Antonio Gades es una referencia inevitable) que es manipulada por diez hombres de negro y al final abandona la escena sobre los hombros de estos, como si fuera una imagen en una procesión religiosa. Salomón es una bailarina majestuosa que se mueve con la cualidad estilizada de una gacela.

Llega entonces el primer gran momento de la noche con la coreografía de Liñán, genial como siempre. “El Encierro” cuenta apenas con dos bailarines (Eduardo Martínez y José Manuel Benítez), siete taburetes, un sombrero y un bastón. Los taburetes se transforman en toros, el bastón en garrocha y los bailarines en garrochistas. Los toros son guiados fuera de escena uno a uno hasta que el último es arrastrado por los gallardos intérpretes en actitud satisfecha que provoca la risa del público.

“Suite Flamenca” no tiene intermedio pero un número musical a cargo de las voces privilegiadas de Saray Muñoz y Gabriel de la Tomasa sirve como transición. Para ser justos hay que reseñar el altísimo nivel de la música en vivo presente a lo largo de todo el programa.

Regresa la danza con el dueto “Maestranza” donde la idea del toro/mujer/destino que planteó Alberto Alonso en su “Carmen Suite” es llevada aquí a sus últimas consecuencias. Sergio Bernal es una presencia magnífica como el torero y Aloña Alonso es un acierto como la bestia.

Entre dos espléndidas coreografías de grupo (“Puerto de Triana” y “Matador”) que permiten disfrutar de las bellas mujeres y los apuestos hombres de BNE por separado (todos son excelentes), aparece Esther Jurado para ofrecer, como digna heredera artística de Blanca del Rey, una “Soleá del Mantón” inmensa que deslumbra, mantiene en vilo a los espectadores y queda en la memoria como el hito de un espectáculo que ya para entonces ha ofrecido unos cuantos momentos inolvidables.

Con “Paso de Ensueño”, que interpretan María Fernández y Eduardo Martínez, se ofrece un dueto de amor a la luz de la luna que no convence del todo por su utilización de recursos de zafio erotismo pero Najarro se recupera con creces al cerrar el programa con “Júbilo”, una pieza para toda la compañía llena de color en el vestuario y de alegría indescriptible en la coreografía. Sin olvidar la eficacia de unos saludos montados con astucia infinita para hacer que todos los presentes se levanten de sus asientos, aplaudan con entusiasmo y abandonen el teatro con absoluto regocijo.

Definitivamente, esta visita de BNE nos reafirma su categoría de gran compañía y su presencia en Miami resulta ser un nuevo éxito de programación para Arsht Center y Flamenco Festival.


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