Last night’s premiere of the Spanish Ballet of the Community of Madrid came wrapped in notable expectation and not all of it had to do with dance. The event, which took place at the Teatros del Canal, where this new company will have its headquarters, responded to the urgency that Isabel Díaz Ayuso expressed a year ago to “support dance” with a new company that would promote “knowledge and dissemination of folklore and popular culture.” And the ballet, directed by the dancer and choreographer Jesús Carmona, framed in the Comprehensive Dance Plan implemented by the Ministry of Culture, Tourism and Sports, saw the light on Hispanic Heritage Day, in an environment that was more political than artistic and with some results of little choreographic significance.
The evening began with a loud applause for the President of the Community of Madrid upon her entry to the Red Room of the Teatros del Canal and shortly after 8 in the afternoon a long evening began in which the intention of covering the different styles of Spanish dance and flamenco marked the choreography. It also marked complacency, as demonstrated by the opening of Spanish Suite, op. 47the first work shown in this program, in which the dancers in immaculate white, on a stage dressed only in an intense red light, seemed to recreate the flag of the Community of Madrid in a political and too easy nod towards all that. The costumes changed to adapt to the different places and traditional dances that this town performs. suite. Also the lights, which function as scenery, going from red to green, although their meaning is unclear.
Of all the scenes that passed in an enjoyable way, although seeking applause too easily and frequently, Aragón’s stands out, with a somewhat more compact cast and greater richness of movement. The interpretive irregularity, which was clearly noted in the use of castanets or drumsticks in this first work, and in the use of tap dancing in the second of the program, was one of the weaknesses of the debut of this Spanish Ballet of the Community from Madrid. But not the only one. The absence of a convincing choreographic discourse that supported the dance language dominated the entire evening, revealing many creative shortcomings. The interpretation of Jesús Carmona stands out in this first work. In solo format, he bursts onto the scene to demonstrate what an outstanding dancer he is. And he repeats in the second work of the program with the same formula. Perhaps too much presence for the director of a publicly owned company.
After this Suite of 45 minutes and a break of 15, the second part of the program began with Epiphany of flamenco. An hour-long work that covered different styles such as the seguiriya, the guajira, the tangos and the caracoles to close, with a black aesthetic and lighting and choreographic compositions that were too reminiscent of the Afanador by the National Ballet of Spain, a wonderful work by the choreographer Marcos Morau in collaboration with the state company (by the way, it can be seen these days and until October 17 at the Gran Teatre del Liceu in Barcelona, don’t miss it).
It was not a debut in style in its artistic conception, nor was the purpose of this new company clear, although the birth of initiatives around dance, an art so in need of support and visibility in this country, is always good news. And in one community, Madrid, in which the Teatros del Canal, after the departure of Blanca Li, who armed them with a great diversity and quantity of dance, currently has several directors and none of them are specialized in this discipline.
Spanish Ballet of the Community of Madrid. Spanish Suite, op. 47by I. Albéniz / Epiphany of Flamenco. Director: Jesús Carmona. Live music with JORCAM. Musical direction: Manuel Coves. Duration: 2h and 30m. Until October 27.