Tuesday, June 12 2012
El País - Roger Salas Madrid
One of the most anticipated shows of the Suma Flamenca was this creation of Aida Gomez, input must be said, had a birthday yesterday and is in full swing. Not only seamless best Spanish dancer three generations view but unites creation, rigor, inventiveness and greater coréutica essence, who teaches gender, which guarantees its transcendence beyond both banal experiment we are surrounded . Her dancing is clean, shelled simplicity of exposition and complexity of execution; Musically prevails and gives shine.
Gomez has risked much in Adalí, but has come through the front door. The squad members have responded: splendid music, from melodic orchestrations wealth and place Juan Parrilla finally rightful place in two very different dancers together to accompany this Madrid princess dance. Christian Lozano, Barcelona school dancer, refined, precise and Eduardo Guerrero, with its vernacular dregs, blood way to address the serious part of the dance tradition.
Adalí Because there are well understood and similar traditions, aesthetic current carried restrained, tasteful, with subtle references to the cabaret of the thirties or geometric contemporary theatrical showmanship and sharp. Everything fits because it has become thoroughly.
Aida castanets are a separate story and an essential part of his virtuosity, its peculiarity and excellence; handles sticks in the manner of a score, in the most careful and detailed sound, giving a master class records.
Thursday, January 1 1970
La Razón - C. David Carrón
Precisely because Aida Gomez is not flamenco dancer and program captures the interest in an event as Suma Flamenca. The choreographer, who has gone through the Spanish dancing and bowling school near in compass, but far in flamenco technique addresses from their perspective different sticks jondo "Adalí". Aida Gomez has commanded you "tune" the Ronda, the string, tangos, joys ... Juan Parrilla, but she-dresses, no heeling two thousand times per minute, no need to. Flamenco with its technique can lose spontaneity, but ganaen turns, jumps and arms. The castanets, the former director of the National Ballet of Spain is rung as anyone fail as spectacular as the sound effect heel, the bata de cola cheerfully meanders through such forged legs off the bar ... "Adalí" is fortunate in addition to a dancer in grace, Eduardo Guerrero, as provided for flamenco dance without shoes, with such arms as his jonda elegant figure. There were passages show that he only managed to evoke the figure of Gades its privileged art without fanfare. The voice was the only thing that did not seem to be up to an assembly pampered every detail from the Red Sea fabric enveloping the protagonist from the first moment. If something can reproach Gomez is outlining ruptures did not dare to consummate, but still have time to squeeze flamenco as it has with other genders.