FOUR STARS
Consistent with the classics review that he has been facing since 2021 with “Giselle” and “Swan Lake”, Jorge Amarante premiered “Sleeping Beauty”. Set in an undefined time and place, the choreographer took up the dispute between good and evil using contemporary language (with well-defined personal characteristics), synthetic scenery and costumes, and economy of characters.
In a return to the origin of the character the fairy Carabosse is acted in transvestitehow he put it Marius Petipa in 1890, using dramatic resources that bring it closer to our time. Amarante endowed his dawn of a childish character than the sister with the Shakespearean Juliet: like the latter, it is the paternal mandate that orders her to marry. There was no prince but there was a fairy/goblin turned human who will confront Carabosse, kiss Aurora and marry her, with an unexpected turn towards the end.
With a small group of dancers, the choreographer managed to adequately capture the atmosphere and ‘tempo’ of each scene. For this he counted on the experience of Benjamin Parada like a Carabosse full of acting subtleties. She had an efficient performance Sofia Carmona as the protagonist, expressive and confident as was her ‘partner’ Facundo Luqui.
The elegance of Analía Sosa Guerrero and Lisandro Casco like parents, and the sympathy of Lorena Sabena like the Kindness Fairy. Young Martín de Victoria and Clara Quinteros They brought temperament to their parts, in this “Sleeping Beauty” inscribed in a renewed stage for local dance.
