Dancing in the imposing scenario of the Columbus Theater is not for anyone. Its atmosphere, its rich history, prestigious orchestra and above all the demand of the public habitua, force an almost total level of perfection. And if the ballet already deserves a plus of discipline more than any other dance, see the passion that young people who integrate the main dance body of the Colón Theater, explain why each of its functions brings excellence.
Among those illuminated faces that make up the group, is the María Rocío Agüero25 years and 1.65 meters high, who entered school at ten years being a girl and after doing the lower and purifying the technique, debuted in 2019 as a stable cast. In 2022 he became a soloist and first dancer and today is one of the artists with the greatest projection of his litter. Unlike what one imagines, his current dream is to continue enjoying the place he occupies, without planning a career abroad. Days after the work of the work “Carmen”smiles when he enters the realization that he is being directed by two of the greatest dancers in history, Julio Bocca and Marcia Haydée.
News: How did interest in ballet arise?
Rocío Agüero: It was love at first glance. My sister began to do sports gymnastics at Unión Neighborhood Saavedra and my mother took her to the club with the club where her schoolmates were waiting for her. I was three years old. We arrived 15 minutes before and was finishing a dance class for girls. When I saw them with the tutu, I told my mother that I wanted to do that. She tells that she threw her pants and packaged: “I want to do that, I want to do that.” And as a good bullfighting that I am, I didn’t stop. She asked the teacher if she could do and start as of initiation. And I never stopped.
News: Did you dance and listen to classical music or until there?
Omen: Nothing. Zero music and much less classic. Not two steps danced. And there I was until the age of six until my professor Ana Laura, a genius, told my mother that she saw me with great desire and that in that place I had already reached a roof, and recommended the Julio Bocca Foundation. I went to the San Isidro headquarters, where I was lucky to have Patricia Carraro as a teacher.
News: In all his years of study there was no time where he slowed?
Omen: In the interim my mother tried to change my rhythm. He took me to jazz and other styles thinking that I was going to have fun more because they were more moved. She tells that she took me to the Queen Reech school and when we returned in the car he asks me if I liked the class and answered: “Yes, but I prefer the one that is more slowly.”
News: How did you live in the Bocca Foundation?
Omen: I lived well. I was always very unconscious. As I did because I liked it, I always enjoyed dancing. Of course, I had to be disciplined and have a work attitude, but I enjoyed it. I wanted to dance and if you are clear about that, it is your best engine. In those years, Julio Bocca presented a work with Alessandra Ferri and we went to see them. I would be about seven years old. When we left I told my mother that I wanted to dance like Julio Bocca. “No,” she tells me, “you have to dance like the girl”, and I: “No, like Julio Bocca.” I wanted to dance like him. We were going to see him in a row, he had all his DVDs. He looked at them in the living room and did the same choreographies. Absolute admiration.
News: Classical dance, like professional sports, remains childhood and adolescence.
Omen: Equal. I got lost birthdays and friends, but there were more desire to go to dance than to do any other activity. My days were exhausting. Today I value my mother’s effort that always accompanied me and supported me. As she worked as a secretary in my school, I was waiting for her and we went together to San Isidro first and then to the center. I remember returning from the Julio Foundation and being studying or reading a book and falling asleep. My mom told me: “Give it over, pay attention that tomorrow they take this.”
News: Did the school end?
Omen: Yes, but in sixth grade I changed because I had already passed to Columbus and had classes in the morning and rehearsals in the afternoon. I was already fully involved in dance. I spent watching videos of Tamara Red, Alessandra Ferri and Poina Seionova. I looked at their variations, learned choreographies and when teachers came to teach us, I already knew them.
News: How did you handle the demand of the world of dance?
Omen: I was always very self -examined, but when my body began to change for the passage of a girl to woman, there were times where I did not recognize me and there I began to see another panorama of dance. It is a problem because your body changes, but luckily I was very well accompanied and advised. It is very easy to go to the other side because you start a profession with a body and at 12 or 13 years completely changes you. I was not a talented cream either, so my whole life was very practice and that had me focused. My first classes with the tip shoes were a disaster. One of my first teachers, Katty Gallo, told me that I did not believe that I could arrive where I arrived when I saw myself as a girl. I do not say that there are no disorders in the world of dance, but luckily it was not my case.
News: He studied six months in the United States.
Omen: Another organizational and demand level. We had three classes per day: essay, partner and contemporary. A lot because here I had only one hour of technique class, another repertoire, an hour of something more and ready. There were guys from all nationalities. The American are very good, the Russians were impressive. The same are Argentine we are well considered, so in all the great ballets of the world there is an Argentina among their figures.
News: How much of acting in a dancer?
Omen: A lot. Once you have the choreography learned, you begin the character’s performance. To the technique you have to add passion and acting. My first protagonist in the Columbus was just “Carmen.” And in those weeks I was Re Carmen. I absorb the character. I remember being walking down the street and seeing the world from Carmen’s eyes. There are more enlightened and other darker characters. Last year I made “Giselle” and they are roles that demand a personality opposite to yours. The drama makes you skin.
News: It premieres “Carmen” under the general direction of Julio Bocca and the choreographies of Marcia Haydée.
Omen: One more dream. Dancing under the direction of two of the best dancers in history is very strong. On the one hand a lot of pressure, but on the other much enjoy. And you learn a lot. Marcia knows how to convey the technique because he does it with a lot of love. It requires you but each indication is a particular class of dance. And Julio Bocca is shocking. I went from seeing it in videos to have it meters giving me indications. It makes you feel the essays, seeks perfection and your search can be our consecration.
