Aída Gómez

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Aída Gómez Agudo (born June 12, 1967 in Madrid ) is a Spanish dancer and choreographer of classical Spanish dance and flamenco .

The beginnings

Aída Gómez grew up in a simple family. Even in early childhood, she showed talent and enthusiasm for dance. Her mother, who among other things cleaned stages as a cleaner, used all her freely available means to pay for her daughter's professional dance lessons. Aída was able to attend her first courses in a dance school at the age of seven. Three years later she began her training in classical dance. In 1979 she received an honorary scholarship at the Conservatory in Madrid. She received lessons from Juana Taft , Maestro Ontín , Pilar de Oro , Aurora Pons , Merche Esmeralda , Juanjo Linares , Paco Fernández , Carmina Ocaña , María Magdalena , Ciro , La Tati , Manolete , Lola de Ávila , Luis Fuente , Aurora Bosch and Victoria Eugenia .

In 1981, when she was just 14 years old, she became aware of Antonio Ruiz Soler , who was then director of the Ballet Nacional de España . He saw her dancing a few Sevillanas and hired her. From now on, the Ballet Nacional became the center of her life for 20 years with a few interruptions.

At the Ballet Nacional de España

In the first years at the Ballet Nacional she took part in the following performances:

  • Sonatas after Antonio Soler ; First performance in 1982
  • Don Quixote , first performance also in 1982;
  • Danza y tronío (1984);
  • Ritmos (1984);
  • Medea (1984).

In 1985 she was named prima ballerina . It followed:

  • Doña Francisquita as the dancer in the title role (1985);
  • Seis sonatas para la reina de España (1985);
  • Laberinto (1985);
  • Bolero (1987);
  • Zarabanda (1988), choreographed especially for her by José Antonio ;
  • Homenaje (1988);
  • Fandango after Antonio Soler (1988);

In 1996 she interrupted her engagement with the Ballet Nacional for a few months to join Joaquín Cortés ' company as an invited guest star . She danced in his new production of Pasión gitana . A year later she danced the role of the miller's wife in Manuel de Falla's Sombrero de tres Picos at the opening gala of the Teatro Real . For this performance she was awarded the Premio MAX for best dancer of the year in 1998.

In 1997, following an invitation from Maurice Béjart , she taught Spanish dance at his École Rudra in Lausanne. In the same year she dared to found her own company for the first time. With her she presented solos en compañía in Salamanca in December 1997 . She designed both the choreography and the costumes for this production herself.

In 1998 she was appointed director of the Ballet Nacional . She was the youngest person to ever hold this post. With young choreographers, she brought new forms of dance to the stage in order to gain a new audience. She directed Mensaje in 1998 and Semblanzas in 1999 . Her imaginative choreography Silencio rasgado from 1998, in which she also appeared as a dancer, made a special impression . She also choreographed and appeared in the 1999 piece Seville . She had other appearances of her own in 1998 in Poeta , in 1999 in Aciegas and in Carmen and in 2000 in Mirabrazo .

In 2000 she received the silver medal of the Instituto de Cultura del Teatro Bellas Artes of the Republic of Mexico .

Due to conflicts with the ensemble, she had to give up her director's position in 2001 and leave the Ballet Nacional .

Artistic work from 2001

Then she started again to build up her own company. The troupe made their debut in April 2002 in Madrid with Salome . She was able to win over Carlos Saura for the dramaturgical direction . Roque Baños and Tomatito wrote the score , a crossover of flamenco and oriental music with echoes of classical opera. José Antonio designed the choreography. She herself took over the artistic direction and danced the title role. Javier Toca danced the role of John the Baptist , Paco Mora the role of Herod and Carmen Villena the role of Herodias .

Carlos Saura also directed Salomé as a feature film. The film received the award for best artistic contribution at the Montreal World Film Festival . At the Valladolid Film Festival , he was awarded the prize for best film music. Aída Gómez herself was awarded the Premio Nacional de Danza in 2004 for her dance performance in Salomé .

In 2003 she directed Sueños at Milan's Teatro alla Scala and choreographed Duende for Red Nacional de Teatros , the Spanish national theater network. In 2004 she appeared as an invited guest star in Miguel Ángel Berna's production Mudejar at the Teatro Real in Madrid. In 2005 she took part in the gala of honor for Antonio Gades at the Teatro de la Zarzuela in Madrid. In Carlos Saura's film Iberia , she danced the piece Cádiz to Jorge Pardo's guitar .

At the 2006 Jerez de la Frontera Festival , she performed her version of Carmen . Emilio Sagi was in charge of the dramaturgy, José Antonio Rodríguez took over the musical direction, and she herself danced the title role and designed the choreography. José María Huertas danced the role of Don José.

Permíteme bailarte , which she staged in 2008 at the Teatro Albéniz in Madrid, is both a homage and a reinvention of the characteristic Spanish dance, the so-called escuela bolera . Aída Gómez combined a series of traditional and well-known Spanish music pieces: Goyescas , La vida breve , Fandango del Candil , the Fandango by Luigi Boccherini and Capricho español - with choreographies by Rubén Olmo to music by Juan Parrilla .

With Adalí , Aída Gómez staged her conception of contemporary flamenco in Madrid in 2012. The name of the piece means Madrid in the Kalé language . It describes a trip through Madrid, a place where cultures meet. With its choreography to the music of Juan Parrilla, it sets a consciously modern counterpoint to the orthodox-traditionalist view of flamenco. She wants to contribute to leading flamenco into the 21st century:

«Dentro de ese universo que es la danza española, el arte del baile flamenco ocupa su lugar, señero, importante, definitorio e influyente. Si el siglo XX fue el de la entronización del flamenco teatral, el XXI será también el de enfrentar esas poderosas tradiciones de cara al futuro. »

“In that universe of Spanish dance, flamenco occupies its place, unique, important, decisive and influential. If the 20th century was the enthronement of theatrical flamenco, the 21st will rather confront these mighty, precious traditions with the future. "

- Aída Gómez : El País

Again she performed Adalí in 2015 in Madrid with her company.

In 2012 her ensemble was appointed as a resident company at the Teatro Mira in Pozuelo de Alarcón . This gave it a permanent local home for rehearsals and performances as well as a certain financial security. In 2013 she organized a dance gala there with invited artists. In addition to flamenco, contemporary dance was offered in front of a sold-out hall.

In 2013 she brought Carmen to the stage in Bilbao with her company of 20 dancers. Her choreography is influenced by the earlier interpretation of José Antonio as well as by Carlos Sauras' choreography from his famous film . In essence, however, she was based directly on Prosper Mérimée's story and George Bizet's opera, and created her own version from her own understanding of these sources.

In 2015 she was appointed director of the Madrid en Danza dance festival . In addition to Spanish dance, she has since set modern program accents with leading young choreographers such as Pablo Esbert Lilienfeld , Jean Philippe Dury , Daniel Doña , Chevy Muraday , Peter Agardi and Daniel Abreu . Of the 18 companies invited, 12 came from Spain, the rest from the United States, Japan, France and Germany, represented by the Dresden Frankfurt Dance Company . At the 2016 festival, the Stuttgart Ballet , the London Royal Ballet and the Vienna State Ballet took to the stage as invited ensembles of world renown. For the 2017 festival she was able to win, among others, Antonio Canales and Israel Galván as renowned artists.

In 2016 she danced in the Roman theater of Mérida La guerra de las mujeres together with Antonio Canales to the singing of Estrella Morente . The piece is a flamenco version of Aristophanes ' ancient comedy Lysistrata .

Artistic appreciation and reception

Aída Gómez is considered to be an extraordinarily versatile dancer who has mastered a wide range of dance genres. The critic Cristina Marinero characterized her with these words:

«Aída Gómez es una de las bailerinas más importantes que ha dado nuestra danza: no ha habido estilo ni escuela que se le resistiese, desde la base académica que siempre dominó, hasta el flamenco, pasado por la escuela Bolera, donde su técnica y afinadísima su respeto por las formas propias de este baile histórico y crucial que tan poco se ve sobre la escena le convirtieron en el mejor de sus intérpretes de los ultimos años. »

“Aída Gómez is one of the most important dancers our dance has produced: there was neither a style nor a school that opposed her, from the academic basis she always mastered to flamenco, and along the way the escuela Bolera . Their finest technique and their respect for the own forms of this historical and delicate dance, which is so rarely seen on stage, developed it to the best that its performers had shown in recent years. "

- Cristina Marinero

Aída Gómez herself also emphasized in an interview in 2015 her connection with the Escuela Bolera , for whose staging she demands the highest technical skill from her dancers.

The Mira cultural center in Pozuelo de Alarcón honored her in 2014 with an exhibition as the avant-garde of Spanish dance.

References and comments

  1. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV.Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-73-8 , pp. 139 (Spanish).
  2. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 140 .
  3. ↑ Elabayo2011 (uploader): El Sombrero de Tres Picos. In: Youtube . Spanish television broadcast on October 9, 2011, accessed March 30, 2018 (Spanish).
  4. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 141 .
  5. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, No. 230 , 2010.
  6. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 231 .
  7. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 142 .
  8. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 232 .
  9. ^ Carlos Saura: Salomé. In: Internet Movie Database . November 22, 2002, accessed March 30, 2018 .
  10. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 143 .
  11. ↑ La Red Española de Teatros. Auditorios, Circuitos y Festivales de Titularidad Pública. Retrieved March 30, 2018 (Spanish).
  12. ^ Iberia (2005). Full cast & crew. In: Internet Movie Database. Retrieved March 30, 2018 .
  13. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 143-144 .
  14. ^ A b Víctor Núñez Jaime: La polvorilla del baile . In: El País . January 15, 2015, ISSN  1134-6582 (Spanish, elpais.com [accessed March 31, 2018]).
  15. ↑ a b Roger Salas: Una visión contemporánea del baile flamenco . In: El País . June 6, 2012, ISSN  1134-6582 (Spanish, elpais.com [accessed March 31, 2018]).
  16. ^ Silvia Hernando: Aída Gómez encuentra techo . In: El País . March 21, 2012, ISSN  1134-6582 (Spanish, elpais.com [accessed March 30, 2018]).
  17. ↑ Roger Salas: Los duendes sueltos . In: El País . April 8, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed March 31, 2018]).
  18. ^ 'Carmen', en la visión de Aída Gómez . In: El País . November 13, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed March 30, 2018]).
  19. ^ Roger Salas: El Madrid en Danza de Aída Gómez . In: El País . October 22, 2015, ISSN  1134-6582 (Spanish, elpais.com [accessed March 30, 2018]).
  20. ↑ Julia Martín: Una Gala de mediana altura . In: El Mundo . November 29, 2016 (Spanish, elmundo.es [accessed March 31, 2018]).
  21. ↑ Cristina Marinero: Estrellas del ballet para una noche única . In: El Mundo . November 25, 2016 (Spanish, elmundo.es [accessed March 31, 2018]).
  22. ^ José Luis Romo: Madrid en Danza recupera al mejor Antonio Canales . In: El Mundo . October 26, 2017 (Spanish, elmundo.es [accessed March 30, 2018]).
  23. ^ EFE: Estrella Morente y Antonio Canales, ovación por su 'Lisístrata' flamenca en el Festival de Mérida . In: El País . August 5, 2016, ISSN  1134-6582 (Spanish, elpais.com [accessed March 31, 2018]).
  24. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 145 .
  25. ↑ Cristina Marinero: "Mi compañía es un referente, no hay otra igual" . July 24, 2015 (Spanish, elmundo.es [accessed March 31, 2018]).
  26. ↑ Pozuelo acoge la muestra 'Aida Gómez', un recorrido por su trayectoria profesional . In: El País . May 16, 2014, ISSN  1134-6582 (Spanish, elpais.com [accessed March 30, 2018]).

Web links

  • Aída Gómez. Accessed March 31, 2018 (Spanish, artist's website).
personal data
SURNAME Gómez, Aída
ALTERNATIVE NAMES Gómez Agudo, Aída
BRIEF DESCRIPTION Spanish dancer of classical Spanish dance and flamenco
DATE OF BIRTH June 12, 1967
PLACE OF BIRTH Madrid