Contrastes

Obsesi�n
Choreography: Susana
Music: Antonio Robledo
The musical base of this creation is an old, today hardly known any more flamenco singing: a Bambera.
It resounds in its original form at the beginning. The different pieces are based on the separate motifs of this singing. Each music has its own instrumental cast.
Five archetypal women figures are possessed to display their individuality and their specific rhythm of life. This movement is initiated by a flamenco singing, interpreted by Enrique Morente, which surprises the women completely unexpected.
The voice is calling out in the life. Each woman follows this call and seeks for the dialog in accordance with their personality.

Don Quijote y Sancho Panza
Choreography: Susana
Musical Director: Antonio Robledo
In four pictures we follow the tireless Don Quijote on his way of restlessness.
He wants to achieve the impossible and dances for his ambitious ideals and crazy imagination. An impetuous, playful and inventively ingenious power is the continual impetus of his undertakings. He�s non-conformist, unworldly and hard to define in the context of his environment.

His contrasting partner Sancho Panza stands by his side united in loyal and intimate friendship. He represents the realistic, earthbound values. A lively dialog connects this undying partnership. It stands symbolically for the contrast between the knightly dream and the available reality, between idealized craziness and elementary prudence, between education and naivety and also between genius and shrewdness.

The polarity of the two characters finds its effective expression in the musical and dance interpretation.

Ritmo
A Production of the whole company conducted by Susana y Antonio Robledo.
The inner structure of this creation is the constant repeating and dispersing of various flamenco rhythm. Here, the rhythm, the formative and most very own element in the flamenco, is the base of the common vibration. Rhythm is pulse, is life, is personal expression. Rhythm connects the individuals without limiting their personal expressivity. This creation should especially enable the individual to develop its own style and to get its personal rhythm involved.

Premiere, 23.05.1990, Baden, Kurtheater

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Contrastes

Kurier, Wien

This was no corny exhibition of folklore for tourists, this was pure Flamenco. The Swiss-based company, "Flamencos en route", staged the most glorious of artistic dances under the title "Contrastes", displaying strength, technical perfection and absolute majesty.

Kurier, Wien, 08.03.1991

Tanz Aktuell

The teasing interplay between the musicians and the dancers gradually ignited like a firework, building up to a maelstrom - in fact, I didn't want it to end.

Tanz Aktuell, 01.07.1990

Neue Zürcher Zeitung

The four episodes could exist quite separately, thanks to the diversity and dynamism of the choreography. You do not need to know the book (Don Quixote, - P.R. Dept.) to be able to enjoy the development and tension of the dancing. The show was a resounding success, due not least of all to the impressive performances by the two guitarists, El Niño de la Leo and Paco Cruz and by the singer, Momi de Cádiz.

Neue Zürcher Zeitung, 25.05.1990