Israel Galván
El Amor Brujo + Le Sacre du Printemps
choreography and dance
Israel Galván
with
Eduarda de los Reyes (El Amor Brujo)
Israel Galván (Le Sacre du Printemps)
piano Daria van den Bercken and Gerard Bouwhuis
mezzo-soprano Barbara Kozelj
costumes Micol Notarianni
technical direction and sound Pedro León
lights Benito Jiménez/Valentin Donaire
stage manager Balbi Parra
management Rosario Gallardo
production
IGalván Company
coproduction (El Amor Brujo) Teatros del Canal, Festival de Jerez, Dansa Quinzena Metropolitana, Maison de la musique de Nanterre, Scène conventionée, MA scène nationale – Pays de Montbéliard e Teatro della Pergola/ Fondazione Teatro della Toscana in collaboration with
Ajuntament de La Rinconada, Scène conventionée pour les arts de la marionnette, Oloron-Sainte-Marie
(Le Sacre du Printemps) Théâtre de la Ville – Paris, Sadler’s Wells – London, Mû-Lausanne, Théâtre de Nîmes, Scène conventionnée d’intérêt national, Teatro della Pergola – Fondazione Teatro della Toscana – Florence, MA scène nationale – Pays de Montbéliard, Théâtre de Vidy-Lausanne
supported by INAEM-Instituto Nacional de las Artes Escénicas y de la Música, La Loterie Romande, Pro Helvetia, Fondation suisse pour la culture du Canton de Vaud, Fondation Leenaards, Flamenco Biënnale Nederland
EL AMOR BRUJO by Manuel De Falla (1915)
LE SACRE DU PRINTEMPS by Igor Stravinskij (1913)
It is a unique program that presents two masterpieces of early twentieth century music, linked by the original interpretation of Israel Galván.
Flamenco innovator and international star of contemporary dance, Israel Galván in a program of just over an hour, accompanied by the two pianists Daria van der Bercken and Gerard Bouwhuis and the mezzo-soprano Barbara Kozelj, leads the audience to rediscover these two compositions, apparently very different one from the other.
“This is a something I’ve been wanting to do for a long time: a one evening program presenting two works that provoked controversial reactions when they first opened, and now they are considered masterpieces of the 20th Century. Since both compositions last about 35 minutes, I have previously presented El Amor Brujo and Le Sacre du Printemps, adding a second part to complete the programme. But I have always wanted to dance these two classics in the same evening.
The friendship of De Falla and Stravinsky is known, they admired each others’ work. De Falla was present at the premiere of Le Sacre, they dedicated scores to each other and exchanged the portraits that Picasso painted. Ultimately, I have always been interested in this journey from failure to success. Stravinsky - who admired Andalusian singing - said of flamenco that essentially is “a classical compositional art” and he has been a master for me in flamenco thanks to his percussive rhythm and Nijinsky’s choreography with its beating on the ground has always inspired my work.
I danced the classic version of El Amor Brujo when I was in the company of Mario Maya, but I really started looking at it when Kazuo Ohno, the master of Butoh, created a choreography in tribute to La Argentina, considered the pioneer bailaora that brought flamenco dance from the tablao to the biggest stages in the world and that, ten years after the difficult world premiere with Pastora Imperio, danced with great success El Amor Brujo.” (Israel Galván)
tour dates
Italy Teatro della Pergola Florence – 9 - 12 November 2022
©Filippo Manzini