Text: Manuel
Moraga
A love of classical Spanish dance,
polished professionalism and personality. These are the words
that best explain the work of this man from Seville, raised
in Ibiza and trained in Madrid. Antonio Márquez has
returned to Spain’s capital with a show based on three
choreographies with three very different aesthetics.
Antonio Márquez is currently putting up with a knee
injury that keeps him from dancing the lead in some of his
choreographies, but you’d never know it watching him
interpret his version of Ravel’s Bolero, the most outstanding
piece of the program: three completely different approaches
which indicate this choreographer’s degree of versatiliy.
Perhaps “The Three-Cornered Hat” as the work
is known in English is begging for a new take with some risk-taking
and innovation, but not necessarily. And not because Antonio
Márquez lacks the means – this is clearly not
the case – but rather because he approaches this work
with meticulous respect for the classic choreography created
by Antonio Ruiz “Antonio” with whom Márquez
had the opportunity to study in the Ballet Nacional de España.
Antonio Márquez defends the most classic sort of Spanish
dance and “The Three-Cornered Hat” is the vehicle
he employs to make his statement. Of the three choreographies
that make up the show, this one is presented as a premiere
which is in itself a declaration of principles. Synchronized
movements, harmony, equilibrium, grace and technical excellence
are the pillars that sustain a work which, in a certain sense,
is a tribute to Antonio. On this occasion the magnificent
David Sánchez substituted for Márquez pulling
off the difficult challenge of assuming the technical level
of the company’s director with great dignity
 The
pace steps up both in choreography and staging with “Danzas
de la Vida Breve”,. Flamenco and Spanish classical dance
join forces in places and settings with demanding dances that
the company (again, without its lead dancer on stage) executes
with great proficiency. Noteworthy is the work of singer Gema
Caballero as well as that of guitarists Manuel Cazas and Antonio
Sánchez. “Bolero” is the program’s
most free-wheeling piece and it’s here the choreographer’s
creativity is most clearly appreciated. Márquez saves
himself for this moment and appears with the company. Spaces
are created and exquisite lighting enhances the rich offering
which battles successfully with the melodic monotony of Ravel’s
composition. Spaces, colors, textures and dance combine to
create a hypnotic atmosphere. This is where Antonio Márquez
exhibits the precision, charisma and elegance that won him
such prestigious recognition as the Nureyev prize. Also worthy
of mention is the work of Currillo who co-authored the choreography.
Supported by the Madrid municipal government and Villaviciosa
de Odón, the Antonio Márquez Company is an example
of how to pull off a tremendously serious work without federal
or autonomous sponsorship. The director’s capacity,
his work ethic, his vision and discipline, both personal and
with the group, make possible these high-quality results.
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