Javier Latorre

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Javier Latorre

Javier Latorre , actually Javier Antonio García Expósito (born June 12, 1963 in Valencia ), is a Spanish ballet dancer , flamenco dancer and choreographer .

Life

Childhood and early adolescence

Javier started dancing at the age of four and soon gained a reputation as a child prodigy . At weddings, christenings and other festivities, with traveling artist groups, in restaurants and vaudeville shows, he used every opportunity to perform and traveled by bus from village to village in the provinces of Murcia , Cuenca , Teruel and Albacete . In some villages there was neither a stage nor the means to temporarily build one. Occasionally the performances took place on the back of a truck.

Career in the national ballet

In 1979 he was accepted by the Compañía Lírica Nacional and three months later with the Ballet Nacional de España . This opened the way for him to professional dance training with teachers such as Aurora Pons , María Magdalena , Ciro , Victoria Eugenia , Juana Taft and María de Avila . He danced in choreographies by Antonio Gades , Antonio Ruiz Soler , José Antonio , José Granero , Ángel Pericet and others. Under the direction of Antonio Ruiz Soler, he rose to become a solo dancer. From him, Antonio Ruiz Soler, he also got his stage name Javier Latorre.

He toured regularly with the Ballet Nacional, in Spain, but also in the USA, Russia, Germany, Luxembourg, Switzerland, Austria, France, Italy, Australia and Algeria. He was involved as a dancer in a number of important productions of the Ballet Nacional:

  • 1980 to 1982 at Flamenco , Eritaña and Almería by Isaac Albéniz and Sonatas by Antonio Soler . All of these pieces were choreographed by Antonio Ruiz Soler.
  • 1984 in Danza y tronío , choreographed by Mariemma , Ritmos , choreographed by Alberto Lorca , and Medea , choreographed by José Granero.
  • 1985 in one of the leading roles in Doña Francisquita and as a soloist in one of Domenico Scarlatti's six sonatas for the Spanish Queen. The latter piece, choreographed by Ángel Pericet, was performed at the Festival dei Due Mundi in Spoleto . In the same year he danced the male lead in Castilla from Isaac Albéniz to the choreography by José Antonio.
  • In 1986 he danced as a soloist in a Rondeña by Felipe Sánchez and the role of Corregidor in the Sombrero de tres picos by Manuel de Falla .

In 1987, under the direction of María de Avila, he became the first solo dancer at the Ballet Nacional.

Dancer and choreographer

In 1988 Javier Latorre joined the Cordobesian dance formation Ziryab Danza as a co-founder, dancer and choreographer . With her he directed Hijas del Alba , based on the drama La casa de Bernarda Alba by Federico García Lorca . The piece was performed at several important festivals, first at the first Festival de Teatro Flamenco in Granada and years later, in 1994, at the Festival Flamenco de Valencia . In 1990 it was performed in the series Arte y Artistas Flamencas on the Spanish broadcaster TVE2 with the Ballet Español de Murcia .

He achieved a great triumph in 1989 at the Concurso Nacional de Arte Flamenco competition in Córdoba: He won the Premio Antonio for the most perfect dancer, the Premio Juana la Macarrona for his interpretation of the Alegrías and the Premio Paco Laberinto for Bulerías .

In 1990 he directed Giuseppe Verdi's La forza del destino at the Gran Teatro de Córdoba , with Eva Yerbabuena among others . As an invited artist, he took part in Diálogos del Amargo by Mario Maya that same year . At the Flamenco Festival in Mont-de-Marsan , the French audience celebrated him for minutes with a standing ovation. In 1992 he organized a flamenco service in Oviedo together with Carmen Linares and Chano Lobato and danced in Concierto flamenco para un marinero by Vicente Amigo. 1993 choreographed and he danced for the television series Buscando a Carmen station's Canal Sur .

In the course of the following years, a wealth of other choreographic works and appearances as dancers are noteworthy, including:

  • 1994 Appearance at the Festival Internacional de la Guitarra in Cordoba, at the Festival del Cante de las Minas in La Unión , at the Flamenco Biennale in Seville and at the Festival Flamenco in Valencia .
  • 1995 Participation in the gala homage for La Argentinita in Córdoba.
  • 1996 Appearance at the Festival Internacional de Música y Danza in Granada as well as the choreography of Lances el Arenal for the Fundación Cristina Heeren . With the latter piece he contested the Seville Biennale that year.
  • 1997 Appearance at Fura dels Baus in their production Dadle Café . With the choreographic workshop of the Institut del Teatre in Barcelona, ​​he created Movimiento flamenco for the company of Antonio Márquez . For the Compañía Andaluza de Danza he created the choreography for Cosas de Payos . This piece became one of the company's most important repertoire pieces. They performed it at the Seville Biennale in 1998 and again at the Teatro Central in Seville in 2003 .
  • In 1998 he choreographed a short dance for Antonio Canales for his production Guernica . For the Ballet Nacional he choreographed Luz de alma and Poeta , a dedication to the people who had to leave their country and emigrate overseas because of the war. For Enrique Morente's work Omega , Javier Latorre choreographed a dance piece that he performed himself on stage. On the occasion of the national competition of Cordoba he created Réquiem por Antonio , a homage to the sounds of Mozart's Requiem to Antonio Ruiz Soler , who died in 1996 ; According to his own words, "a kind of choreographic collage that tries to cover all of Antonio's styles". The end of this creative year was Ombra , a piece for the Fura dels Baus on the occasion of the García Lorca year, which the city of Granada organized in memory of the Andalusian poet. Javier Latorre danced the role of the poet himself. The piece then went on tour through Europe. It was performed at the International Festival of Iberian Theater in Porto in 1999 and at the Romaeuropa Festival in Rome that same year .
  • In 1999 he created the choreography of Musa gitana for Paco Peña's company . The piece was performed at Sadler's Wells in London and at the Festival Internacional de la Guitarra in Cordoba.
  • In 2000 he created Ambi-valencia as a contribution to the Flamenco viene del sur cycle . In the same year he choreographed the fourth movement of her work 5 mujeres 5 for Eva Yerbabuena and also appeared in her dance show Eva at the Jerez Festival.
  • In 2001 he created together with Fernando Romero Pura intención to music by Joseph Haydn , Antonio Vivaldi . Jean-Baptiste Lully and Paco Arriaga . With this piece the competition Concurso Nacional de Flamenco in Córdoba was opened that year .

Rinconete y Cortadillo

In 2002, after years of preparation, he premiered a new project in the Generalife Gardens : With Rinconete y Cortadillo, based on the novel of the same name by Miguel de Cervantes , he wanted to bring a new genre to life, the comedia flamenca . In contrast to traditional flamenco, whose lyrics often deal with tragic subjects, violence and death, this time Javier Latorre's aim was to make the audience laugh. Thanks to the enthusiasm of the performers, the texts by José Luis Ortiz Nuevo and the dramaturgy by Óscar Quero, this succeeded in full: in the audience, quiet smiles and salmon volleys alternated. Javier Latorre designed the choreography with cheerful, festive dances such as tangos , tanguillos , sevillanas , alegrías and bulerías.

Despite all the cheerfulness, the work was nevertheless recognized by the critics as serious, great art. Ángel Álvarez Caballero wrote in El País:

«(Una obra) rebosante de ingenio y de encanto. Y de arte. "

“(A work) bubbling with esprit and charm. And of art. "

- Ángel Álvarez Caballero : El País, September 28, 2002

Eulalia Pablo wrote in Candil:

«(Rinconete y Cortadillo) ha sido, sin lugar a dudas, el espectáculo más completo de la Bienal (de Sevilla). Un derroche de imagination, humor y talento. "

“(Rinconete y Cortadillo) was without a doubt the most complete performance of the (Seville) Biennale. An abundance of imagination, humor and talent. "

- Eulalia Pablo : Candil 141, 2002

Choreographic works since 2003

2003 choreographed Javier Latorre for the Compañía Flamenca Somorrostro suite Andanzas for their performance at the Festival Grec in Barcelona. He choreographed Penélope for the Ballet Español de Murcia and for the company of Ángeles Gabaldón Inmigración .

In that year he gave his preliminary farewell performance as a dancer with a last performance of Réquiem por Antonio .

For the Festival de la Guitarra 2004 he created 'En el nombre de la Rosa' Triana . The piece is a homage by Javier Latorre and his company to Jesús de la Rosa Luque, head of the Triana group, who died in a traffic accident in 1983 . The piece roughly follows the artist's biography and interprets his songs in a flamencised form, but without imposing the structures of flamenco on them. The piece El Loco is also an homage. It is dedicated to Félix Fernández (1893–1941), a dancer in the ballet of Sergei Diaghilew , who spent almost half his life in the Epsom psychiatric nursing home until his death . It deals with the tragedy of the talented artist who is set back, not coped with, and becomes crazy about it. After its world premiere in Madrid in 2004, it was performed in Barcelona that same year and the following year at the Jerez Festival and the Teatro de la Maestranza in Seville. The third of Javier Latorre's works from 2004, Los Tarantos , tells the life story of the writer Alfredo Mañas (1924–2001).

In 2005 he choreographed El celoso extremeño for the Ballet Español de Murcia .

2006 followed

  • Inconnexus XXI for the Somorrostro company from Barcelona,
  • the choreography for the dance numbers of the film ¿Por qué se frotan las patitas? by Álvaro Begines ,
  • Requiem por la Tierra for Paco Peña's company,
  • Homenaje a Fosforito for the Gran Teatro de Córdoba ,
  • Doña Francisquita for the Teatro Villamarta in Jerez.

In 2007 he was the choreographic director for the show for the 15th anniversary of the Concurso Nacional de Arte Flamenco in Córdoba and one of the numbers for Femenino plural by Ángeles Gabaldón.

In 2008 he created ¡Viva Jerez! for the opening event of the Festival of Jerez and El Bateo and De Madrid a París for the Teatro de la Zarzuela in Madrid.

In 2009 he choreographed Fedra for the Mérida Theater Festival , a musical and dance version of the Greek tragedy by Phaidra , with Enrique Morente among others . He choreographed De Córdoba a Cádiz and De Aquí y de Allá for the Tablao Flamenco Cordobes in Barcelona . He also choreographed the film Flamenco Flamenco by Carlos Saura . For the company of the Japanese dancer and choreographer Shoji Kojima he choreographed La Celestina based on the tragic comedy of the same name by Fernando de Rojas .

In 2010, Javier Latorre created El duende y el reloj for his own company - a kind of lesson based on the flamenco textbook for children of the same name by Philippe Bannier. With this piece he also returned to the stage as a dancer. He presented it at the 2011 Jerez Festival, among others. For Anabel Veloso's production Poema sinfónico No. 2 he danced the role of orchestra conductor to his own choreography.

In 2012 he became active again for the Ballet Nacional and choreographed parts of the performance Ángeles caídos , with which Antonio Najarro made his debut as the company's new director. For the company Prodigio BAF Flamenco , he choreographed, together with Concha Jareño, El Quijote, al compás de un sueño based on the famous novel by Miguel de Cervantes. After performances in Madrid, the company went on tour with the piece to China.

Fatum is a joint project from 2014 with Shoji Kojima for his company. The piece takes up the theme of La fuerza del destino from 1990. It was performed at the opening of the Jerez Festival. For the Jerez Festival 2015, Javier Latorre choreographed the concert Tradición y duende by Paco Cepero . At the 2016 Jerez Festival, Shoji Kojima, now 76 years old, celebrated his 50th stage anniversary as a flamenco dancer together with Eva Yerbabuena. Javier Latorre created the choreography for their joint piece A ese chino no le canto ; he also appeared in it as a dancer.

In 2018, on the occasion of the Fiesta de la Bulería in Jerez, he brought Jerez con Japón to the stage as choreographer and artistic director for Shoji Kojima's company . Javier Latorre developed the choreography Vamo - Allá for the Flamenconautas company , which he himself runs and consists of artists from 12 nations . Both the name of the company and the title and content of the piece are a reference to the artists who crossed the Atlantic to try their luck on the American continent. He choreographed Las Quijanas and Letras de Oro for the theaters in Algeciras and Puente Genil . He choreographed and directed Alba for the Michal Natan company in Tel Aviv . The play was performed repeatedly in several locations in Israel in 2019.

Teaching

Javier Latorre gave courses at the Conservatorio Superior de Danza in Málaga and, upon invitation, taught master courses at various dance companies. In 2008 he founded his own school at his company's location in Cordoba. In 2012 he gave masterclasses with Pastora Galván and Rafaela Carrasco at the Festival de la Guitarra in Córdoba. In 2009, 2011 and most recently in 2019 he organized choreographic workshops under the title Amor de Solana , each of which resulted in the creation of a choreography.

manifest

In 2001, Javier Latorre published a manifesto in which he summarized his ideas on choreography, the training of artists in dance and choreography, the technique and the so-called purity of flamenco. In his opinion, the personality of the artist takes precedence over technical and stylistic rules.

«El Flamenco es producto de una mezcla de culturas que todavía nadie ha sabido explicar con exactitud. La pureza para mí es intangible y es implícita al espíritu de cada persona. »

“Flamenco is the product of a mixture of cultures that no one has yet been able to explain exactly. For me, purity cannot be defined and is inherent in the spirit of every person. "

- Javier Latorre : Manifesto, 2011

In many places neither current practice nor training in flamenco do justice to this. Plagiarism is widespread. The training of both dancers and teachers is stereotypical, it does not promote the ability to express themselves and personal development. The criticism in the press is sometimes disparaging and often suppresses the role of the choreographer.

He also suggested that the direct public funding of flamenco should be pushed back in favor of the promotion of private patronage and that the large number of prizes should be reduced.

reception

Francisco Hidalgo Gómez wrote about Javier Latorre in the Candil magazine in 1992 :

“It is an artista como la copa de un pino, con recursos asombrosos, con imaginación desbordante y ágil. [...] nos ofreció unas increíbles alegrías, su baile por excelencia, y unos martinetes y bulerías que quitaban el hipo. "

“He is an artist like the top of a pine tree, with astonishing potential, with an exuberant and agile imagination. (...) he offered us incredible alegrías, his dance par excellence, and some stunning martinetes and bulerías. "

- Franciso Hidalgo Gómez : Candil 81, 1992

Awards

  • 1988 best dancer at the Avignon Festival.
  • 1989 Premio Antonio as the most perfect dancer, Premio Juana la Macarrona for Alegrías and Premio Paco Laberinto for Bulerías at the Concurso Nacional de Arte Flamenco de Córdoba .
  • 1994 Desplante Minero at the Festival del Cante de las Minas in La Unión.
  • 1998 El País newspaper award for best choreography.
  • In 2002 Rinconete y Cortadillo received multiple awards : Prize for the best choreography and for the best costumes at the Seville Biennale, Critics' Prize at the Jerez Festival and Premio Flamenco Hoy for the best company.
  • 2011 Premio Nacional de Danza for choreography.
  • 2012 Giraldillo a la Maestría at the Seville Biennale.
  • In 2019, on the occasion of his 50th stage anniversary, a flamenco evening in his honor was held in Córdoba, with a part of the Ballet Nacional de España, Eva Yerbabuena, Shoji Kojima, Tamara López, Cristian Lozano, Fuensanta la Moneta, Mercedes de Córdoba, Marco Flores, Mara Martínez, Pedro Córdoba, Encarna López, Karen Lugo and Ana Latorre.

Web links

References and comments

  1. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV.Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-73-8 , pp. 81 .
  2. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 81-82 .
  3. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 82 .
  4. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 83 .
  5. ↑ a b c d José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 84 .
  6. ↑ «bailaor más completo»
  7. ↑ a b c d José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 85 .
  8. ↑ Javier Latorre. In: Revista DeFlamenco.com. August 3, 2012, accessed December 24, 2019 (Spanish).
  9. ↑ a b c d José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 86 .
  10. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 87 .
  11. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 88 .
  12. ↑ a b c d e José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 89 .
  13. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 90 .
  14. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 90-94 .
  15. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 93 .
  16. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 94 .
  17. ↑ Javier Latorre: 'En el nombre de la rosa' Triana. (Video) In: Youtube. March 31, 2017, Retrieved December 25, 2019 (Spanish).
  18. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 95-96 .
  19. ↑ German: the crazy one
  20. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 96-97 .
  21. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 97 .
  22. ↑ a b c d José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 98 .
  23. ↑ Javier Latorre: Inconnexus XXI Teatro Zorrilla. (Video) In: Youtube. March 29, 2017, Retrieved December 26, 2019 (Spanish).
  24. ↑ ¿Por qué se frotan las patitas? - full cast & crew. In: IMDb. Retrieved December 26, 2019 .
  25. ↑ Javier Latorre: ¡Viva Jerez! (Video) In: Youtube. March 31, 2017, Retrieved December 26, 2019 (Spanish).
  26. ↑ Rosana Torres: El milagro de Fedra . In: El País . July 2, 2009, ISSN  1134-6582 ( elpais.com [accessed December 26, 2019]).
  27. ^ Javier Latorre: De Cordoba a Cádiz . DVD. Ed .: Tablao Flamenco Cordobes. Nuba Records, SL, Barcelona 2009 (Spanish).
  28. ↑ a b c Javier Latorre: Coreografías e interpretaciones. In: website of the artist. Retrieved December 26, 2019 (Spanish).
  29. ↑ Flamenco Flamenco (2010) - Full Cast & Crew. In: IMDb. Retrieved December 26, 2019 .
  30. ↑ Javier Latorre: La Celestina. (Video) In: youtube. March 31, 2017, accessed December 27, 2019 (Spanish).
  31. ↑ Manuel Martín Martín: Kojima, un ejemplo a considerar . In: El Mundo . September 29, 2012 (Spanish, elmundo.es [accessed December 27, 2019]).
  32. ↑ Javier Latorre coreografía 'La Celestina' for the ballet de Shoji Kojima. In: cordobaflamenca.com. July 24, 2012, accessed December 27, 2019 (Spanish).
  33. ↑ Javier Latorre: El duende y el reloj. (Video) In: Youtube. March 28, 2017, Retrieved December 26, 2019 (Spanish).
  34. ^ Philippe Bannier: El duende y el reloj . Editorial El Páramo, Valladolid 2008, ISBN 978-84-935021-8-8 .
  35. ↑ XV Festival de Jerez 2011 Javier Latorre 'El duende y el reloj' María Mezcle, David Carpio Lola Pérez, Ana Ma. Blanco. In: Revista DeFlamenco.com. March 3, 2011, Retrieved December 26, 2019 (Spanish).
  36. ↑ Manuel Martín Martín: Al duende se le paró el reloj . In: El Mundo . March 4, 2011 (Spanish, elmundo.es [accessed December 26, 2019]).
  37. ↑ Anabel Veloso / Javier Latorre: Poema Sinfónico Nº 2. In: Danza.es. Retrieved December 27, 2019 (Spanish).
  38. ^ Roger Salas: Nuevos propósitos en el Ballet Nacional . In: El País . March 22, 2012, ISSN  1134-6582 (Spanish, elpais.com [accessed December 27, 2019]).
  39. ↑ Maria Comes Fayos: Un bailaor llamado Don Quixote . In: El País . August 10, 2012, ISSN  1134-6582 (Spanish, elpais.com [accessed December 27, 2019]).
  40. ↑ Javier Latorre: Fatum. (Video) In: Youtube. July 12, 2017, Retrieved December 27, 2019 (Spanish).
  41. ↑ Manuel Martín Martín: Destino impredecible pero inevitable . In: El Mundo . February 22, 2014 (Spanish, elmundo.es [accessed December 26, 2019]).
  42. ↑ Manuel Martín Martín: Tradición y duende . In: El Mundo . March 2, 2015 (Spanish).
  43. ↑ Javier Latorre: A ese chino no le canto. (Video) In: Youtube. July 12, 2017, Retrieved December 30, 2019 (Spanish).
  44. ↑ Eva Yerbabuena Salvo a Kojima . In: El Mundo . March 3, 2016 (Spanish, elmundo.es [accessed December 27, 2019]).
  45. ↑ Manuel Martín Martín: Voces, ritmos y acentos sin muros . In: El Mundo . August 25, 2018 (Spanish, elmundo.es [accessed December 26, 2019]).
  46. ↑ Fermín Lobatón: La legión extranjera del compás . In: El País . February 27, 2018, ISSN  1134-6582 (Spanish, elpais.com [accessed December 27, 2019]).
  47. ↑ Las Quijanas. In: Website of the Municipality of Algeciras. April 20, 2018, accessed December 27, 2019 (Spanish).
  48. ↑ Ori J. Lenkinski: The women of 'Alba' . In: Jerusalem Post . Jerusalem November 29, 2019 (English, jpost.com [accessed December 27, 2019]).
  49. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 101 .
  50. ↑ Javier Latorre. In: El Arte de Vivir el Flamenco. 2008, Retrieved December 26, 2019 (Spanish).
  51. ↑ Victoria M Niño: Emocionar con el habla del cuerpo. In: El Norte de Castilla. April 4, 2019, Retrieved December 26, 2019 (Spanish).
  52. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 99-100 .
  53. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 100 .
  54. ↑ "el lenguaje de enriquecimiento" Javier Latorre
  55. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 99 .
  56. ^ Goyo Montero Morell y Javier Latorre, Premios Nacionales de Danza . In: El País . October 20, 2011, ISSN  1134-6582 ( elpais.com [accessed December 24, 2019]).
  57. ↑ Manuel Martín Martín: El tiempo evoca el instante . In: El Mundo . September 17, 2013 (Spanish, elmundo.es [accessed December 28, 2019]).
  58. ^ Francisco del Cid: Javier Llatorre, 50 años en danza. In: Diario de Córdoba. November 8, 2019, accessed December 28, 2019 (Spanish).
personal data
SURNAME Latorre, Javier
ALTERNATIVE NAMES García Expósito, Javier Antonio (real name)
BRIEF DESCRIPTION Spanish ballet dancer, flamenco dancer and choreographer
DATE OF BIRTH June 12, 1963
PLACE OF BIRTH Valencia