La Pepa - Sara Baras Ballet Flamenco

Loïc le Duc

Version espanola

Sara Baras 
Foto : Carmen Romero

Personne ne sait très bien où, quand et comment naît l'histoire du flamenco. Ses premières racines ont dû pousser quelque part dans l'Inde du Nord, avant d'être soudainement (mais on ignore pourquoi) chassés de leur terre. Les graines de cette plante folle ont alors voyagé un peu partout en Europe, sous les roues des carrioles nomades qui emportaient l'exil d'un peuple, d'une langue et de ses farandoles. Cette plante coriace, dure au vent et à la misère, a su se transformer au gré de ses pérégrinations, se réfugiant dans la plainte d'un violon tzigane en Europe de l'Est, s'infiltrant, in fine, sur les terres arides et rocailleuses de l'Andalousie espagnole. 

Sara Baras 
Foto : Carmen Romero

Le flamenco est né d'une persécution ; ses parents gitans relégués dans les forges et les caves d'une Espagne inquisitoriale ; peuple de l'ombre, forcément maléfique, secret, que l'iconographie aura représenté sous une sempiternelle cape. Enveloppé de nuit, le flamenco a su dialoguer avec les étoiles, c'est là sa ruse ; et rire sous cape, c'est là son insolence. Ah, cette ruse de la cape, que l'on retrouve aujourd'hui encore dans les volutes malicieuses des jupes de la danseuse flamenca. Le flamenco est poésie. Les mots d'en bas, ceux de tous les jours et de toutes les nuits, glissent en funambule sur la corde d'une guitare, s'accrochent à une voix rauque ou jaillissent dans l'étincelle d'un "zapateado". 

Sara Baras - Foto : Santana de Yepes

De tradition séculaire, le flamenco a, aujourd'hui, retrouvé son éternelle jeunesse, rebelle et utopique. D'entre la nouvelle génération flamenca, Sara Baras. Née à Cadix, elle fut interprète dans des compagnies prestigieuses comme celle de El Guito et s'inscrit, avec une élégance déterminée, dans les traces d'Antonio Gadès et de Cristina Hoyos, ou de personnalités comme Antonio Canales. Fine et élégante, Sara Baras possède une cambrure ravageuse, un "braceo" particulièrement gracieux. Et met en évidence de savantes arabesques, d'élégants jeux de poignets et de petits haussements d'épaules aussi coquins que ses déhanchements sont sensuels. Sous ses mains, son châle se métamorphose en cape, voile, éventail et les pas s'enchaînent à un rythme aussi prodigieux qu'entraînant. Femme et diablesse, la danseuse passe capricieusement des ondulations alanguies aux coups secs et crépitants, et exécute un zapateado d'une exceptionnelle variété de rythmes, de nuances et de couleur. Et lorsqu'elle relève un défi chorégraphique, Sara Baras le fait savoir comme il se doit : coup de poing sur la poitrine et menton en avant. 

Armée de son talent et de son art, Sara Baras nous fait sentir, goûter et revivre cette Cadix des "tertulias" qui, de 1810 à 1812 a résisté aux troupes françaises placées sous commandement de Napoléon. Huit tableaux se succèdent pour décrire l'horreur de la guerre, l'amour de la terre, la volonté et le combat pour un monde libre, l'espérance dans un futur meilleur… Cet épisode historique est magistralement mis en relief par un flamenco puissant et la présence du corps de ballet, élégant et racé, que souligne, inlassablement, le raffinement des éclairages. Point d'orgue de cette danse fascinante, toute de noblesse et de violence contenue : les duos au cours desquels Sara Baras et José Serrano se défient et rivalisent de virtuosité. 

La Pepa - Sara Baras Ballet Flamenco
Foto : Carmen Romero

Spectacle enchanteur et jouissif, Sara Baras incarne, à la perfection, la "Pepa", cette voix du peuple qui aspire à la liberté...

La Pepa (création 2012)
Théâtre des Champs Elysées - Paris

Sara Baras : livret et direction artistique
Sara Baras, avec la collaboration de José Serrano : chorégraphie
Ras Artesanos, Sara Baras : scénographie
Torres-Cosano : costumes
Oscar Marchena, José Luis Alegre, Sara Baras : lumières

Sara Baras : La Pepa
José Serrano : danseur invité

Sara Baras Grupo Flamenco
Keko Baldomero :  directeur musical
Keko Baldomero, Miguel Iglesias : guitares
Antonio Suarez, Manuel Muñoz « Pájaro » : percussions
Saul Quiros, Emilio Florido, Miguel Rosendo : chanteurs

Danseurs
Carmen Camacho, Charo Pedraja,Cristina Aldon, Isabel Ramirez, Macarena Rodriguez, Maria Jesus Garcia, Natalia Lopez, Tamara Macias, Alejandro Rodriguez, Daniel Saltares, David Martin, Manuel Ramirez, Raul Fernandez

Marie-Agnès Gillot / Merce Cunningham

Loïc le Duc

Version espanola

Sous apparences - Marie-Agnès Gillot
Photo : Julien Benhamou / Opéra National de Paris

Le Maître Cunningham et l’apprentie chorégraphe Gillot. La double-bill à l’affiche de l’opéra de Paris pourrait agréablement surprendre. Elle déçoit. Brigitte Lefèvre, directrice de la danse, a voulu associer à la reprise d’ « Un jour ou deux », la création de la danseuse-étoile Marie-Agnès Gillot qui conçoit là sa première chorégraphie pour le Ballet de l’opéra de Paris.

Sous apparences - Marie-Agnès Gillot
Photo : Julien Benhamou/Opéra National de Paris

Marie-Agnès Gillot s'est appropriée le processus de création du chorégraphe américain en associant des artistes de toutes disciplines. Laurence Equilbey, chef d'orchestre et directrice musicale du chœur Accentus, a conçu une dramaturgie musicale constituée du Kyrie et de l’Agnus Dei de la Messe n°2 en si mineur de Bruckner, d’une pièce pour clavecin de Ligeti et d’extraits de la Rothko Chapel de Morton Feldman. Olivier Mosset transpose ses peintures abstraites en un décor original où cour et jardin se croisent et s'inversent. Walter Van Beirendock, créateur d'une mode anticonformiste, a conçu les étranges et provocants costumes : sapins de tulle, guêpes géantes et roquettes roses peuplent cet univers mystérieux et chimérique. Et sur un sol noir, lisse et ultra brillant, la danseuse étoile - chorégraphe lance, filles et garçons, chaussés de pointes, dans de longues glissades. Des choix qui restreignent forcément le vocabulaire chorégraphique qui se limite à des ports de bras, des épaulements, des portées statiques. Et parce que « Sous apparences » se veut une réflexion sur la pointe, la danseuse-étoile chorégraphe tente, en vain, de trouver un langage masculin avec cet objet sacré. Mais là ou Edouard Lock (« Amjad ») excelle, Marie-Agnès Gillot échoue : il y a un manque flagrant de fluidité sur le plateau, une prise de risque qui tombe trop souvent à l'eau. En raison d’une volonté, soulignée et répétée, de désexualiser, à outrance, certains codes ? Ou parce que la chorégraphe et ses interprètes ne sont pas allés au bout de cette prise de risque, ô combien revendiquée, et n'ont pas exploité l'art de la chute ? Dommage, parce que l’investissement des interprètes est évident… et Vincent Chaillet, parfait.

Un jour ou deux - Merce Cunningham
Photo : Julien Benhamou / Opéra national de Paris

« Un jour ou deux », qui suit, est d’un calibre bien différent. Commande de 1973 de l’Opéra à Merce Cunningham et à son compagnon, John Cage, cette pièce désarçonna le public…. Et bouleversa les habitudes de la Grande Maison : tandis que Cunningham tente de faire traverser aux danseurs des expériences qui leur sont totalement étrangères, l'orchestre s'émeut d'avoir à manipuler des boites de carton, s'offusque d'une liberté qui lui est laissée de circuler entre trois groupes d'exécutants, et menace de refuser d'interpréter la partition de Cage. Le décor et les costumes minimalistes de Jasper Johns, autre représentant de l’avant-garde artistique outre-Atlantique, ajoute à l’étonnement du public. Aujourd’hui, plus que jamais, « Un jour ou deux » s'impose comme une œuvre lisible, accessible et sophistiquée.Eclosion de vitesses, division des parties du corps. Coordination virtuose du jeu des jambes, de mouvements inédits du dos et des bras. Variations de directions et de rythme. Il faut souligner, dans la gamme des mouvements proposés, la richesse de la technique élaborée par Cunningham qui donne à toutes les parties du corps une importance égale dans le geste. Ce qui ne va pas sans une maîtrise tout à fait virtuose de la part des danseurs du ballet de l’opéra de Paris, même s’ils ont un peu trop tendance à arrondir les angles, à enjoliver les portés. Simon Valastro est éblouissant, Florent Magnenet surprenant. On imagine l'ampleur et la complexité du travail des interprètes, dans cet espace déstabilisé, sans recours à une référence émotionnelle ou figurative. 

Un jour ou deux - Merce Cunningham
Photo : Julien Benhamou / Opéra national de Paris

Autant de conditions qui requièrent du spectateur une autre façon de voir. Il se trouve confronté à une danse souvent nouvelle, une danse non narrative, sans lien apparent avec la musique ; de multiples évènements simultanés et différents sont présentés sur le plateau, sans communauté rythmique ni formelle, et sans que rien n'indique une hiérarchie entre eux. Le spectateur de Garnier doit apprendre à choisir ce qu’il regarde, ou à regarder plusieurs choses en même temps sans que, en l'absence d'un fil conducteur musical ou dramatique, il puisse, au premier abord, identifier une logique ou une cohérence. Soixante minutes de pureté, de bonheur. "Un jour ou deux" est incontestablement un joyau du répertoire contemporain.


Sous apparence
Laetitia Pujol, Alice Renavand, Vincent Chaillet et le corps de ballet de l'Opéra national de Paris

Chorégraphie : Marie-Agnès Gillot
Décor : Olivier Mosset
Costumes : Walter Van Beirendonck

ARS NOVA Ensemble Instrumental
Choeur Accentus
Direction musicale : Laurence Equilbey

Un jour ou deux
Stéphanie Romberg, Florian Magnenet, Fabien Révillion et le corps de ballet de l'Opéra national de Paris

Chorégraphie : Merce Cunningham
Musique originale : John Cage
Décors et costumes d'après Jasper Johns.

"Multiplicity, Forms of Silence and emptiness"

by Loïc le Duc

Traduction : Carolina Masjuan

Photo : Erik Berg

Oslo Opera House season opening with the entry at the National Ballet repertoire of "Multiplicity, Forms of Silence and emptiness" by Nacho Duato. After "Por vos muero", "White Darkness" and "Arcangelo", "Multiplicity, Forms of Silence and emptiness" is the fourth piece that the Spanish choreographer gives to the Norwegian company.

Native of Valencia, Nacho Duato has trained at the Rambert School in London, then at Béjart and with Alvin Ailey where he was the only white dancer in the company. He joined the Ek’s company before meeting Kylian at the Nederlands Dans Theater. Powerful dancer, complex and sexy, yet he is as a choreographer that he will definitely be known. His aura allowed him to be appointed as artistic director of the National Compañia de Danza in Madrid (1990) and at the Mikhaïlowski Theatre in St. Petersburg (2011).

Photo : Erik Berg

"Multiplicity, Forms of Silence and emptiness", created for the city of Weimar (1999), is a tribute to the music of Bach, with a splendid art structures, lots of humour at times, and alternating perfectly ordered meditation and agitation. The dancers of the National Ballet of Norway are amazing of diversity, virtuosity and theatricality: rigor of form, constant energy, vivacity that permanently launches body and limbs in a thousand directions at once, with an almost rubbery flexibility or athletic strength seeming to alter their morphology. Strength and relaxation of the basin allow freedom of the bust, arms and legs. The movement is continuous, smoothly underlined by the classical vocabulary used ... We can only welcome the incredible arms calligraphy, which sometimes seems to precede the rest of the body. And throughout his writing, choreographer sows and other small discrete spins thrown in reducing an excessive virtuosity. There, the dancers glide, leg sweeping the stage to finish with a roll: they are as worn by music. Nothing revolutionary, certainly. Just work carved in the air of time. The staging is conceived to be simple and effective, reduced to a few stools desks, a screen and a metallic structure in the background, a representation of a blank musical score.

Photo : Erik Berg

"Multiplicity, Forms of Silence and emptiness" is certainly the most sophisticated Nacho Duato's ballet. Divided into two parts, "Multiplicity", reflects dance images inspired by the music of the brilliant composer. Extroverted, sometimes comical, this first part is characterized by choreographic variety and diversity that correspond to the various musical excerpts assembled here. The prelude of the Suite No. 1, highlighted by Emma Lloyd cello which is in the hands of Ole Willy Falkhaugen (JS Bach) Brandenburg concertos written for Anna Magdalena, the "allegro" away everything in its path. Of these two men dragonflies (Philip Currell and Andreas Heise) who flutter around Bach ... inventive shadows (Yolanda Correa, Leyna Magbutay, Chihiro Nomura), everything is rapture. Sets group may be less convincing. All the zeal of the Norway National Ballet must be there to raise the level. Costumes are inventive, moving with the body, or giving forms involved in this fun and outgoing atmosphere.

Photo : Erik Berg

"Forms of Silence and emptiness" is darker, more architectural. The tone is more introspective, mystical, spiritual. It refers to the theme of death, so present in the writing of the German composer who can not help instructing its partitions with sore chromatic figurations: the child of nine years which saw in a rapid succession how his mother died first and then his father too, the accomplished man hit hard by the sudden death of his wife, ten children died in infancy, the one of his adult son, the task of making cantor sing motets and choral funeral canticles at mortuary homes ... Bach's life was marked with the seal of death. "Forms of Silence and emptiness" is based mainly on the Art of Fugue, composed by Bach at the end of his life. The final duo of the piece that sees the confrontation between Bach and "death" is masterfully interpreted by Ole Willy Falkhaugen and Eugenie Skilnand.

Then, one by one, dressed in black, the dancers return to the levels of the scaffolding, they align and pose, like musical notes crying their mourning for the Leipzig genius passing away.

Photo : Erik Berg

Norwegian National Ballet
Performance on 4th october 2012

Farewell, Angel Corella

Ángel Corella as Sigfried.
Photo by Rosalie O`Connor

  by Kazumi Imasaki

For the past 17 years–come spring–Angel Corella has been an iconic figure at the Metropolitan Opera House in New York.  It was here that he began his career with American Ballet Theatre, first as Soloist in 1995, then moving up quickly to Principal in 1996. 


Early in his career, technical excellence set Mr. Corella apart.  That, and his boyish charm and seemingly unending exuberance.  Later, maturity brought passion and artistry into more dramatic ballets like Romeo and Juliet, Manon, La Bayadere, Swan Lake and Giselle.  Depth and dimension helped to mold characters that were believable and real, bringing tears of sorrow, joy or whatever the scene called for, to the eyes of those fortunate enough to watch him in the audience.

Some notable roles to showcase Mr. Corella’s dramatic side were from a couple of Kenneth MacMillan ballets: Manon and Romeo and Juliet.  As Degrieux (Manon) and Romeo (Romeo and Juliet), Mr. Corella took on a dichotomy of expressions—as Degrieux, elation followed by the excruciating pain of his loved one’s death in his arms, and as Romeo, genuine joy and excitement in the famous balcony scene pas de deux, followed by inconsolable sorrow at the end.  Another memorable scene from Romeo and Juliet is the duel with Tybalt.  During the sword-fight, Mr. Corella fought with such intensity that he would inevitably end up with a broken sword, or at the very least, a bent one.  Props are evidently not made to withstand such emotional outbursts!

Thus, for seventeen years, Mr. Corella has brought excitement, joy and drama to the Met.  He was a dancer and artist who had the gift of sharing his joy and passion with those who saw him, often times bringing a smile to their faces.

When the confetti had settled, Mr. Corella gave us one final pirouette by which to remember him.
Photo by Rosalie O`Connor. 

Sadly for many, that came to an end on June 28 when Mr. Corella took his final bow at the Met, in front of a full house, amid much fanfare.  His last role was Prince Siegfried in Swan Lake—a role he has become well known for since the release of a DVD in which he starred. 

On his final evening with ABT, Mr. Corella brought with him his boyish charm, his effervescent smile, his soaring jumps and whirlwind pirouettes.  Youthful, spritely and energetic, it was difficult to believe that this beloved dancer was hanging up his tights and walking away from full-length ballets.  He danced so well, in fact, that this appeared to be just another day at the Met for him—no weariness or weathered look that one might expect from a dancer who had made the decision to bow out.  Instead, Mr. Corella left on a high note, saying farewell his way, and on his time.

The audience responded by showering him with thunderous applause every opportunity he gave them.  The illumined look on the other dancers' faces also indicated that this was indeed a special performance.  Mr. Corella, for the most part, appeared unfazed.  Perhaps that came from the knowledge that his next career was firmly in place—for four years, he has been juggling his career at American Ballet Theatre with the dual role of Artistic Director and Principal Dancer at Corella Ballet (now Barcelona Ballet) in his home country of Spain.  In fact, there were several dancers on stage this night that had danced with Corella Ballet/Barcelona Ballet at one time or another. 

For starters, there was Paloma Herrera, who was not only Mr. Corella’s leading lady on his final evening with ABT, but also his leading lady at Corella Ballet's inaugural performance in Madrid four years ago when she danced Nikiya opposite Mr. Corella’s Solor in La Bayadere. She is also the ballerina that Mr. Corella has probably danced opposite the most during his years with ABT.

Then, there was Sarah Lane. Ms. Lane had danced Odette/Odile to Mr. Corella's Prince Siegfried when Corella Ballet re-emerged as Barcelona Ballet this past February at the Liceu Theater in Barcelona.  On Mr. Corella's final evening with ABT, Ms. Lane danced the role of the Spanish Princess who almost catches Prince Siegfried's eye in Act III. 

There was also Alexandra Basmagy, who had spent three years with Corella Ballet before earning a spot in the Corps de Ballet at ABT last fall.  Born in New Jersey and trained at the Jaqueline Kennedy Onassis School at ABT, Ms. Basmagy has returned to dance in her home country, much like Mr. Corella has returned to his.

Corella received the send-off that so many had wanted for him. 
Photo by Rosalie O`Connor

After the performance, Mr. Corella's colleagues from ABT joined him on stage. One by one, they entered with bouquets in their arms.  There was no denying now that this was a farewell after all.  Mr. Corella received each person with a hug and a smile.  It wasn’t until Mr. Corella's sister Carmen–formerly a Soloist with ABT and now a Principal dancer at Barcelona Ballet–entered and gave her brother a long embrace that Mr. Corella’s countenance finally broke, though but briefly. As they loosened their hold on each other, he pinched his eyes to keep any wayward tears from falling. 

In the end, Mr. Corella received the send-off that so many had wanted for him. The hugs, the kisses, the mound of flowers and swirl of confetti took care of that. When the confetti had settled, Mr. Corella gave us one final pirouette by which to remember him. 

Now that he has his retired from ABT, Mr. Corella will have one less hat to wear, giving him time to focus his energies in Spain, where Barcelona Ballet is expected to start a community school this fall. They are also holding summer intensive courses, the first of which began only a few days after Mr. Corella's return to Barcelona. If Mr. Corella can pass on his most endearing quality to the next generation of dancers, the world will be blessed with dancers who dance from the heart.

So, although Mr. Corella has officially retired from ABT, he will not be sipping piña coladas on the beach any time soon (or ever, for that matter as Mr. Corella does not consume alcohol).

Barcelona, Angel Corella is all yours now.  Take good care of him.


Vídeo

Angel Corella, "I've mortgaged to the teeth"

Ángel Corella in Perelada'Festival last summer
(Photo: José Luis F. Liz)

Broken promises, corrupt mediators and the tiring administrative song "please come back tomorrow", have led Angel Corella to ask for an ERE to be able to afford his dancers wages. We had a long interview with him.

 

Lola Ramírez

Angel, how are you feeling?

With a lot of stress and hard work

I read this morning in El Pais that the Barcelona Ballet was practically bankrupt.

I think they've exaggerated a bit. We had to take the company to an ERE because the promised aid never came. In principle, the Barcelona City Council told us they couldn’t give us money but that they will find a place for us to rehearse. As this was getting too long, we made a big investment in the studio we opened in the Hortigosa street in the city center. For its part, the County said they would give the company the amount needed, but that was getting shortened, they drag their feed, they did not answer our calls or e-mails and, finally, we learned that one of the intermediaries had been arrested because of corruption. There came a time when we were truly desperate. We talked to them and we told them that if they didn’t give that grant we would have to cancel the American tour and that this would lead to a major international scandal. To not have to face such a situation, they promised to speed up the first delivery of money. We trusted it would be like this and, well, I have mortgaged to the teeth, I have invested over half a million euros in the company. Finally we went on tour without having received this income and thinking that while we were there, we were going to receive the money that would allow us to pay the salaries to the dancers and to pay all that had been spent so far.

And you are still waiting
 Well. They said the issue had not entered into the plenary yet and that it’s foreseen for the 31st of June session. We were also told that the amount would be much smaller and that they were not sure yet if it was going to enter or not and if it was, they could not guarantee neither if it was going to be approved. Then I had to talk to the company and present an ERE to continue with the activity. We have many contracts, both in Spain and abroad, but if we lack the financial support we will not be able to deal with them.

How have the dancers reacted?
This has caught us all, but, well, there have been two months since we could not pay the dancers and, somehow, they imagined that something like this could happen. The truth is that I have sold my soul to the devil, I have personally been in a suit and tie to submit letters to the County Council, the Generalitat and the City Council, so that they put a stamp on and I could urgently present them. We are waiting for the council to answer us and to make the first deposit so that we can pay the two months debt and then we will have to change a bit the context of the company. Till now we have tried to do all things in a large scale for both the public and the institutions to see that it was possible without an astronomical amount but, of course, having a little support. With no support, we will redirect the company and make it a smaller company where the money generated, comes most from the school and the company’s activity.

Is the plan of the International School of Dance still going on?
Yes and even a couple of days ago we announced the opening of a school here in Barcelona too. In addition of the International School of Dance in Figueras, which still stands as the mayor of the city is moving a lot as he has taken this project as it was his own, there will be a school for all ages here in Barcelona.

Castilla and Leon still owe part of a grant isn’t it?
No. In theory, Castilla y Leon has given everything they signed. What happens is that we were promised the same amount as last year and they lowered it. Then we were told there will be a round of € 150,000 that they would pay in a different way, through “Siglo” Foundation. And although this was not in the contract, they assured us we were going to receive this, we have many mails to prove it. They accomplished what was signed, but they did not the same with what we had been promised verbally.

You know words are gone with the wind. Well, and how are you?
Very sad and very disappointed. And above all, with some disbelief that both, the government and the public institutions, can wash hands off, this way. I understand that we are in a strong crisis situation with cuts everywhere, but what I do not understand is this situation of continual promises that are never materialized. I’m just retiring this year from the American Ballet Theatre to devote all my time to the company, and to stop being an ABT dance star to be in the unemployment in Spain is very sad and incomprehensible. Anywhere in the world they treat their artists in a very special way, even in America I was offered many times to be a director of many companies without having to do anything and the truth is it's very sad that in your own country you are treated this way.

Are you planning about a change of scene?
Not now, I’m keeping on with my company and I'm fighting for my dancers who have reacted in a very positive way and are all rehearsing as if nothing had happened at all. The truth is that artistic expectations are very good regarding performances, it is in the economic issue where we have to rethink the financing of the company.

What  is happening to you is also happening to half of Spain. Some will say, hey, but if some people do not even have what to eat ...
Of course, but what is unacceptable is that you get false promises and you are there waiting for them to be fulfilled and, moreover, the dancers also eat. Many people have a misconception about the world of dance. They think that dancers do not eat and do not work but we simply do something we like. Health and Education cuts is terrible, but so is cutting in Arts, we must also understand that dancers are professionals who lose their jobs. In addition, we are not talking about a cut, we're talking about classical dance to disappear.

Do you have hope that this is sorted out?
I hope so, by now they have not told us no. On the contrary, they said yes, this is why we went to the ERE, because we have never received a negative but the opposite. Both Trias and Mas told us they wanted this project here in Catalonia by all means. So we're waiting for the answer on the 31^st… will see what happens.

So ... Lots of luck!
Thank you very much. We need it because the creative part we develop it by all means. In the United States shows had a huge success and we have a return engagement for several countries.

This also means a boost for the company.
Sure, but if you can not cover the wages which is the most immediate ... And that is what is at risk and what we have asked the Catalan government for, to at least receive a minimum amount to cover the salaries of the dancers and the rest it is us who will deal with, but if we do not get this subsidy then we have to go to the ERE because there is a moment where there is no more money left and you can’t cover all the expenses. People are not aware of the large amount of money a Company needs.

At the end, the dancers will be contracted every time there is a performance, right?
Sure, that's the ERE. The dancers are paid by the government unemployment and then you hire them when you do a show.

What say the dancers?
All, for now, will stay with us and understand the situation, they know it's only for six months, it is not an indefinite situation. The ERE has a duration of six months and then they would all again join the company at the same rhythm.

Well, Angel, from Ballet y mas we wish you all the luck in the world.
Thank you very much.

English translation by Carolina Masjuan