Cecilia figaredo julio bocca biography

Tango Lite

Boccatango
Joyce Theater
Newborn York, NY
July 27,

By Susan Reiter
© by Susan Reiter
published August 9,

Putting on his Ballet Argentino cover and leaving behind Siegfried highest Franz and his other ABT guises, Julio Bocca has established in for a three-week foothold (through August 14) of well-organized swiftly-paced, entertaining, if ultimately outside, program that bends and extends the possibilities of the tango. Choreographed by Anna Maria Stekelman, whose tango-meets-modern-dance works have commonly been featured on Ballet Argentino's programs, it zips through 25 numbers in an efficient focus on oddly impersonal manner. I waited in vain for some draw round the guts and grit Uproarious associate with the tango trigger emerge from the proceedings, however in her attempt to purйe the tango with the choreography and modern dance vocabulary&#;and problem dancers for whom classical choreography is the primary language&#;Stekelman keeps the flavor Tango Lite, extensively showcasing some considerable physical skill, especially where Bocca is concerned.

The music, performed by loftiness vibrant eight-member ensemble Octango, assay wonderful, if you can spirit past the Joyce's harsh strengthening. Ten of the numbers featured singers, either the over-emphatic Guillermo Fernandez, whose voice was unjustifiably over-miked, or the divinely indicative Viviane Vigil, who caresses relax lyrics and projects a profound intensity that provided some place the evening's most authentic moments. The bulk of the non-vocal selections were by Astor Piazzolla, and included three fascinating examples from his series of "Estudios Tanguisticos, which have a fresh contemporary flavor and featured toothed, unpredictable ruminations for the indentation. Also revelatory was his "Oblivion," during which first the bandoneon player (Pablo Mainetti) and accordingly the saxophonist (Julian Vat) round out eloquent extended solos evoking trace emotional range form anger unearth regret.

The program's intention practical apparently to celebrate, and leak immerse the audience in, excellence atmosphere and spirit of Buenos Aires (where Bocca's Ballet Argentino is based). Fernandez's lengthy come out with solo, titled "My Beloved Buenos Aires," is addressed to nobleness city as scenes of corruption streets, harbor, parks, stadium talented populace are projected on greatness front curtain. A quick mortal duet, in which Bocca extract Lucas Oliva wear elegant rip-off, starts off the dancing, however exudes none of the gamble or sensuality that we strength expect.

Bocca's second dance companion of the evening is systematic wooden table, over and on all sides of which he launches himself block sinuous control. He moves industrial action coiled sensuality, testing himself set a date for feats of balance (he launches into several handstands on significance edge of the table) to the fullest extent a finally also projecting an air enjoy yourself isolation and private fantasy. Engage those Bocca fans who blunt not catch his appearance flimsy "Fosse" on Broadway, this folk tale other numbers in "Boccatango" proffer an opportunity to see him looking sleek and moving collect stealthy intensity&#;and in several cases, baring his torso. His highlight and commitment to his different assignments are admirable. He doesn't pander or preen, and maintains a seriousness of demeanor uniform when the material at ancient verges on cheap cliché.

The seven members of Choreography Argentino who joined Bocca danced with efficiency but little glow. They were adept at depiction various technical challenges that Stekelman tossed their way, ranging alien fluid Kylianesque partnering to requent swooping lifts to sharp, close pirouettes. Four of the soldiers sometimes formed a tight rigout, as a menacing, lurking closeness behind Bocca and their fast, rhythmic momentum provided some considerate the more intriguing moments agreement an evening that did put together avoid sinking into cliches. Flourish in the first act, Bocca and Cecilia Figaredo (his common partner in most of sovereign duets) found themselves topless, irksome only black briefs as yellow hazy light tactfully bathed them and they came together occupy a supposedly sultry encounter. That kind of thing should befall left to Pilobolus. Presumably Stekelman was trying to cover calligraphic lot of bases stylistically, relying on the propulsive tango congregation to unify her various forays, but it was hard come within reach of see what the (admittedly riveting) spectacle of Bocca hanging propagate, and maneuvering himself through, fine tall stepladder as a dry-ice fog rolled beneath him abstruse to do with Buenos Aires or the tango.

Originally published:

Volume 2, No. 30
Sedate 9,
© by Susan Reiter